There is a common touchstone relating to design in this selected exhibition that brings together works across painting, photography, drawing and sculpture. Within each work there is a reference – sometime oblique and sometimes literal – to principles of design. Within the rich stylistic and technical variances there is discernible some adherence to geometry, to objects, to play, graphics or algorithms. Works of both significant and intimate scale will collectively create their own vibrant rhythm within the Gallery.

In his first solo exhibition with the gallery, Ian Williams presents a new suite of paintings concerned with the interpretation of reality within virtual environments and how this can be expressed through painting. Referencing the found objects and substructures within video games, Williams uses the conventions of still life painting to explore the properties of the virtual everyday object. He produces painterly compositions that shift between a sense of landscape and stage set. The viewer is invited to navigate the tableau sometimes disarmed by what might be the true sense of scale, proportion, gravity or obstacle within the painting.

In a suite of seven paintings, photography, and a one-off live-streamed durational performance, Jacobus Capone explores the transformational properties that physical landscapes, the sea and stars can have upon an individual's body and psyche.

The Devotional Paintings (7 Mountains & The Sea) were created through a process of reverence, devotion, and physical endurance. While on residency in Bergen, Norway, Capone would make daily ascents up one of seven mountains surrounding the city, gathering on each trip small samples of earth to be mixed with freshly retrieved seawater and applied as a wash onto canvas. This ritual was repeated over hundreds of iterations to produce final works that, in Capone's words, act "as a conduit or medium between the sea and mountains to reveal something not seen or felt, but in existence." The paintings carry gentle traces of the poetic engagement that transpired between artist and environment.

A single photograph, Untitled (body as a constellation), introduces the exhibition, imaginatively and metaphorically linking the image of a monochrome bodily surface with the idea of terrain or akin to a view of a constellation. It serves to bridge the exhibition of paintings with the physicality of the live stream performance tracing a darkness-to-dawn run, commencing at sundown on the 20th of February, live here.

A conversation between Jacobus Capone and Perth Festival Visual Arts Curtor Annika Kristensen will be held at the gallery at 11am on Saturday 25th February.

Falling From Earth is presented in association with Perth Festival as part of the 2023 visual arts program.

Structural Changes is the final exhibition for 2022 and presents newly arrived works and stockroom favourites from Abdul Abdullah, Erin Coates, Marita Fraser, Matthew Hunt, Kate McMillan, Holly Yoshida, and John Young.

'Structural changes' is terminology that is broadly applied across disciplines to signal shifts, transformations and sometimes additions or reductions. Social, corporate, cultural, political, scientific, and economic spheres each draw upon this turn of phrase. At a purely formal level it might too describe actual physical or formal manipulation or an altered construct.

It is a term that in sentiment can be equal parts innocent or equal parts loaded, in much the way that diverse expressions in contemporary art offer multiple perspectives and enlighten our thinking or enquiry. Meaning is not always absolute.

Structural Changes closes the program for the year and also marks five years of MOORE CONTEMPORARY at its Cathedral Square location

John Young presents two projects: None Living Knows and The Shiva Paintings from two cycles of works - History Projects (2007-2022) and Abstract Paintings (2006-present) that have occupied him for the last 15 years. The History Projects, finding impetus in the history of violence and benevolence, also later developed a visual history of the Chinese in Australia since 1840. The Abstract Paintings offer a reassessment of technology's devastation to bodily skills.

Young incorporates elements of aesthetic theory and trans-cultural art history to consider the culture surrounding globalisation and migratory dislocation; the sociological impacts of technology; as well as philosophical notions of memory, resonance and melancholia.

MOORE CONTEMPORARY presents selected works by four artists, each at distinguished points in their careers. A predominance of new works created for Sydney Contemporary includes three-dimensional, free-standing works and wall sculptures from Abdul- Rahman Abdullah, alongside two-dimensional wall works by Erin Coates, Dan McCabe and Matthew Hunt. Together they expand the concept theme of 'In Plain Sight'. Narrative, text and symbolism each find voice in dynamic ways. In a largely monochromatic display high realism meets unadorned language and pattern in a play upon duplicitous meaning while projecting that ideas can be hiding in plain sight literally and metaphorically.

Inner Glow brings together selected works by Rebecca Baumann, Marion Borgelt, John Young, Tom Mùller, Caitlin Yardley, and Holly Yoshida. Though diverse in media, works relate through their shared degrees of radiance, derived either through material application or subject replication.

The title words Inner Glow nod toward well-being energy or a healthy complexion, striking a warming chord for the Winter Project. The works themselves, though, are each individualised expressions steeped within each artists conceptual framework.

In her inaugural project with MOORE CONTEMPORARY, artist Danielle Freakley explores the relationship between studio, audience, action and gallery space. In a highly regarded career that has seen the artist working with significant curators and invited into major international projects, Freakley has evolved a sophisticated and nuanced interrogation of social interactions. Often driven by the power and implications of language, voice and its forms of expression, Freakley moves seamlessly between working with object-based gestures in diverse materials to generating and undertaking performances that can be either highly orchestrated or developed almost by a strategy of benign subterfuge.

On Your Behalf is a layered presentation offering an array of works on paper, sculptural forms, and a participatory drawing. Throughout the duration of the exhibition new works or interventions will occur either through the addition of physical works, or activity. As the title suggests, On Your Behalf speaks to the artist's intentional devolvement of authority, seeking to give permission to others to interact and distribute creativity.

Jacobus Capone's Merimna stems from a series of studio based rituals initiated and enacted during a month of 24 hour darkness at 78 degrees north in the Arctic. It captures the deceptively simple and mesmerising process of loading and unloading a Mauser M98 rifle repetitively to have the action become second nature, faultless.

With little experience handling a firearm, let alone a rifle, having the tool become an extension of the self was necessary. The artist was required to carry it in the field. To go beyond the perimeter of the township one is required by law to carry a firearm due to the threat of polar bears. Capone, on site to film in darkness, therefore had to gain some level of proficiency in handling a rifle in the dark.

Yet the reality of encountering a predator and the instinctive requirements he would draw upon set up an existential question for a pacifist artist who recognised his foreigner status in the context and the situation.

In its simplicity and intensity the video is elegant, absorbing and unsettling.

Merimna is on view at MOORE CONTEMPORARY following its inaugural presentation in VIDEO at Melbourne Art Fair 2022 and to coincide with the launch of the artist's solo exhibition Orisons at UNSW Galleries, Sydney. Its presentation is shared with selected works by gallery artists.

Large-scale and immersive, CANON brings together an ensemble of sound plunged into a sequential generative cloud-form. Emulating a canon in song, a single voice builds to a hymn and reaches a crescendo as the audience stands witness to a performance of a large invisible choir enveloped by a celestial blanket of clouds.

Drawing on the heritage and beauty of Perth's Historic Heart, Cathedral Square, Tom Mùller creates an enchanted, transformative landscape in the heart of the City.

This free art experience will run for three weeks from 18th February in Cathedral Square.
Session days: Wednesday, Thursday, Friday, and Saturday.
Session times: 12pm, 1pm, 5pm and 6pm.

For further information visit Cathedral Square's website.

MOORE CONTEMPORARY is pleased to present the work of Jacobus Capone at the Melbourne Art Fair 2022.

At fair booth D4, the Perdition & Prayer paintings are, in process and in imagery, a type of lexicon of the artist's practice - almost talismans of the artist's experiential approach to making art. Produced in copper leaf, volcanic ash, and glacial water on Mingeishi paper they are each an intimate and hand rendered offering. Symbols, energies and emotions filter through chosen elements and figurative expressions that in turn provide touchstones within our own experiences, memories or associations.

Capone's video work Merimna (2018) is also on display in Melbourne Art Fair's VIDEO sector.

Curated especially for GuestClub, Positive Pairings presents two selected works by each of five artists that convey how artist trajectories might diverge or complement. Distinctive and varied media or shifts in scale, for example, are some of the production considerations deployed in developing and realising ideas. This is evidenced in the works chosen from artists Dan McCabe, Marita Fraser, Abdul Abdullah, Pilar Mata Dupont, and Abdul-Rahman Abdullah.

The summer exhibition presents selected works to celebrate gallery artists. Works of diverse media bring impactful textures to the space with a purposeful sense of abundance and energy to mark the years closing. Works that play upon multiplicity for overall effect correspond with others, that although singular, exploit layering to convey their conceptual reverberations.

La Maruja presents six vibrant, large-scale diasec photographs and a single-channel video in which artist Pilar Mata Dupont interrogates the historical and cultural mythos of the feminine, both within her own ancestry and across disparate cultures. Within a distinguished global exhibition history, this exhibition marks Mata Dupont's second solo exhibition with MOORE CONTEMPORARY.

But who is La Maruja? Writes catalogue essayist Lauren Carroll Harris:
"According to the disparaging feminine noun in Spanish, she is a gossip, an obsessive consumer of telenovelas, a housewife whose life is defined by domesticity and pettiness, cooking and cleaning... She is Pilar's great-great-grandmother María Cristina... She is an archetype of mothers, of women, of the overlooked and reviled and mistrusted, the stifled and the choked. She is the illness suffered by María Cristina... She is a vessel for women's testimony, passed down and down, through stricken eras and troubled family trees. Beyond any individual, she stands as a compromised, mythic matriarch trapped in a personal history, a familial investigation and a saga of psychology and place."

La Maruja is presented at MOORE CONTEMPORARY overlapping with the premiere exhibition of Mata Dupont's film The Ague at the Samstag Museum of Art in South Australia from 22nd October to 3rd December 2021.

MOORE CONTEMPORARY is pleased to host the anticipated second iteration of the shared project Peripheries between brothers Abdul Abdullah and Abdul-Rahman Abdullah. Paintings by Abdul Abdullah join sculptures from Abdul-Rahman Abdullah in a vital expression that is charged by the currency of our times, and is informed by their personal perceptions and realities of what centre and periphery might mean.

Catalogue essayist Somayra Ismailjee summarises this project:
'Peripheries is an exercise in duality, treading two lines, two conceptions of peripheral identity that run parallel to each other. Each work, too, seems to embody a juxtaposition; contentment and captivity, turbulence and steady reassurance. Perhaps the most fundamental duality here is that of peripherality and centrality itself. The centre seems to be a conception in flux, as normalcy is upended in the world at large. The Abdullah brothers speak, through their work, reflexively of their own peripheral identities - and through the shared humanity we encounter in their work, allow us to reflect upon our own.'

Abdul Abdullah is represented by YAVUZ GALLERY. Peripheries is presented in association with YAVUZ GALLERY.

On Location presents works that extend the term 'to locate' or have been informed by the experience of 'a location'. In diverse visual forms, the selected works capture the energies of experiencing a place, with an emphasis on physiological and conceptual responses over pictorial representation. In a time when travel is encumbered or disallowed, it is curious to consider that several of the selected works have stemmed from time spent by the artists on international residencies. Jacobus Capone in Upervanik, Greenland, Dan McCabe in the Hyrynsalmi region of Finland, and Marita Fraser in Oaxaca, Mexico. Kate McMillan filters her visit to Dungeness on the Kent coast of the United Kingdom, a site renowned as a shingle beach classified as a desert, and a pilgrim destination for followers of film-maker Derek Jarman where his heritage listed Prospect Cottage and desert garden is located.

Anchoring the exhibition is commanding work by Tom Mùller. Mùller consistently captures the essence of complex phenomena in reductive form offering work that elegantly traverses mapping, minimalism and poetics. In Blueshift II a dark disc in the foreground intercepts the lineal ground that alludes to wavelengths, energies and frequency in light. Mùller's work translates the less tangible. Two wall works in On Location offer a contained statement; something of a counterpoint to the ephemeral and large scale environmentally located works that he is well known for.

Holly Yoshida is welcomed to MOORE CONTEMPORARY with a solo exhibition featuring a series of recent paintings comprising still life and interiors.

Yoshida navigates a distinctive path as a contemporary painter. She is enamoured with historical painting, choosing to work in dry brushed oil on panel, sometimes employing a grisaille technique, yet she documents and quietly elevates present day mundanity. Her interiors might draw upon screen grabs from our daily life steeped in social media. A networking page for rental accommodation is just one form of fodder from which she has sourced imagery. In her hands banality meets a certain ethereal beauty. The ordinary is imbued with oneiric atmospherics that both charm and unsettle. The absences and neutrality invite a speculative and voyeuristic gaze, in which we might construct or impose narrative.

In a catalogue essay to accompany this exhibition, Dr Mardi Crocker perceives and describes the investment of time that is embedded and required in both the making and the viewing of Yoshida's paintings:
"Paying attention to what is, and isn't there, takes time. Some things, some states, demand to be noticed, will themselves to the forefront of our consciousness with brute force and within a moment. Other things hover at the edges, threaten to dissolve and disappear altogether, like ghosts in the margins of our attentional landscape. These are the things that take time, or rather, attending to them, as a presence or an absence, takes time."

MOORE CONTEMPORARY is delighted to present selected works during April, providing a platform to show new works into the Gallery and to especially welcome the work of artist, Matthew Hunt. After a hiatus since departing Australia, Hunt presents a suite of new scraper board works sent from his London studio. With a long history of practice in Western Australia, Hunt's works are often coveted for their perceptive and dynamic use of language. His choice of texts are wry, clever and poignant in their mundanity, and intentionally amplified by his hand crafted technique and fundamental understanding of design.

Full Circle Flouro by Marion Borgelt is on view in the gallery for the first time. Adjacent to the scripts of Hunt, her wall installation grid appears almost calligraphic. The sequence of circular forms in white exude a light touch that is emboldened by a hand painted edge in vibrant orange. Also presented for the first time in MOORE CONTEMPORARY are recent wall works by Abdul-Rahman Abdullah. With the appearance of artworks wrapped in black plastic, each carved and waxed form plays upon the illusion of a concealed or shrouded painting.

A singular work by Dan McCabe offsets and completes the installation. NZL DDL RSU from 2018 is a hallmark black camouflage work from stock, where automotive carbon fiber vinyl, black acrylic and gun blued steel are assembled into an elegant and highly reflective panel.

MOORE CONTEMPORARY is pleased to announce The End is Glorious if We Only Persevere by Elham Eshraghian-Haakansson is now on view.

Eshraghian-Haakansson graduated from UWA with first class honours in 2017 and is nearing completion of her master's by research. Her work has been selected for numerous national showings and has been recognised with early career awards. In 2018 she was awarded the Dr Harold Schenberg Art Fellowship associated with the Hatched Exhibition at PICA, and in 2019 was a finalist in the John Stringer Prize. In 2020 she was the overall winner of the Joondalup Invitation Art Prize.

In that year Eshraghian-Haakansson also co-founded and is a lead artist of the Second Generation Collective, which brings together, through creative pursuits, the generation of children born of parents displaced by the 1979 Iranian Revolution. The Iranian diaspora and its cultural and emotional implications is a key exploration within her work. Her sophisticated and commanding film work is often built from personal narrative merged with archived footage, and yet is ultimately a poetic and expressive meditation upon the desire for universal values of empathy.

The three channel video The End is Glorious, If We Only Persevere is accompanied with a new series of six block mounted photographs.

Hyper Leisure is a dynamic group exhibition to mark the close of the year. It brings together selected works that explore or are inspired by forms of leisure. Leisure is both a desired and contested life commodity. It has created a business behemoth, transcending the seeking of mere recreation. Ideals of leisure tip from mindless pursuit to extreme action. In Hyper Leisure video, sculpture, painting, and prints take you from gaming to boxing, bouldering, music and meditation. This exhibition introduces to MOORE CONTEMPORARY the work of Erin Coates and Ian Williams for the first time, joining the work of Dan McCabe and Abdul-Rahman Abdullah.

In the hands and minds of fine contemporary artists this produces a range of remarkable and refined art works. The exhibition features a mix of new works and works previously un-exhibited at MOORE CONTEMPORARY, alongside a return visit to the conceptually layered glass and steel Post Leisure series by Dan McCabe.

MOORE CONTEMPORARY is pleased to present this significant project by John Teschendorff, acknowledging the artist's ongoing commitment to the interrogation of ideas of social and cultural import. Teschendorff is both well known and regarded for an enduring practice in drawing that is as highly layered and complex as the subjects that he addresses. This exhibition The Tonsberg Saga 2013 - 2020, History of Ideas Series VII emanated from musings upon the events that began in August 2001 with the rescue at sea of some 438 asylum seekers by the master and crew of the Norwegian registered MV Tampa. He commenced a series of work informed by this in 2010 and recognises that it has resurfaced periodically across projects that have taken him to Spain in 2013, Iceland in 2016 and recently in Fremantle where his studio is based.

The Tonsberg Saga 2013 - 2020, History of Ideas Series VII is accompanied with an illustrated catalogue that includes an essay by Dr. Ric Spencer. In that Spencer makes the following observation:
"Punctuated with literary references and always eluding to the consequence of paths taken, John's Tonsberg Saga reminds us of the inescapable stains that decisions place on memory and the history of ideas. As John puts it: things that don't exist come into existence through ideas and when they do they need to take on a form; in the Tonsberg Saga ideas become mark makings that trace enigmatically but scrupulously the journey of a boat - a symbol for things that move in and out of our consciousness - which becomes an elegy for so much more."

MOORE CONTEMPORARY is pleased to re-stage this solo exhibition originally scheduled in March.

Piteraq features a suite of intimate paintings on paper that were made while artist Jacobus Capone was on residency on the island of Upernavik Greenland in the Winter of 2017. Piteraq is a katabatic wind originating on the icecap that sweeps down the coasts with speeds reaching between 180-288 km/h. The word "piteraq" translates to "that which attacks you".

Largely confined indoors, and quelling the anxieties induced by the extreme weather and hostile environment, Capone turned the recall and depiction of string games from a children's book into a daily ritual. Venturing out to collect the sea ice to mix with the gouache was an essential activity and characteristic of Capone's immersive and performative approach that guides his practice.

Studies of string games, rendered in black gouache with melted sea ice on black sugar paper, are in their intimacy charged with the magnitude of the physical and psychological challenges of living in 24 hours of darkness in a hunting and fishing village 800 kilometres north of the Arctic Circle. Accompanying these unique works is a new 2 channel HD video work and an edition photographic print.

Art works selected for Signs of Life traverse still life and automated life, each offering touchstones for evidence of life energy and forces. Residue is a common feature, as a powerful signifier that induces memories, associations and empathy.

Tove Kjellmark is represented by select photographs and a video, that exemplifies her interest in so-called 'technoanimalism'. Over time she has concentrated on explorations of 'another nature' or 'otherness' that emanates from a dialogue between humanity and technology. Her dissembling of mechanical and robotic toys lead to consideration of the vulnerability evoked when the fur is removed. The technical side of robotics doesn't interest her significantly, rather the existential. It reveals something essential about our anthropocentric outlook on the world. In her newest works where she uses, or rather misuses, scanners and 3D-printers, she is able to reach a result with a combined human and mechanic touch.

Photographic techniques are applied distinctly by Kate McMillan and Dan McCabe in their memento works from sites and experiences. McMillan conjures associations from the Kent coast in the UK, and McCabe's imagery transpired from a residency in remote landscapes in Finland. John Young's large figurative painting is less anchored in specificity, giving it an especially ethereal quality. Young continues his double ground series within his multifarious practice. From a series entitled Bridge, Young's enduring explorations of historical layering and transculturality is, in this work, additionally charged with the inclusion of a dream-like figure cloaked in an emergency blanket. Representation coalesces with a dissolved ground that is digitally mediated from works by Giuseppe Castiglioni, an Italian Jesuit Missionary to China in the 1600s. The figure suspended and surrounded with forms from nature is poetically resonant of trauma and safety, protection, security and vulnerability.

Signs of Life is second in the two exhibitions of the winter program designed to provide the opportunity to view individual art works new to the gallery or selected works from the stockroom.

MOORE CONTEMPORARY welcomes you back to visit the gallery following the local lifting of COVID- 19 restrictions. Before the resumption of solo exhibition projects, the winter program provides the opportunity to view individual art works new to the gallery or selected works from the stockroom in rotated presentations.

The Embrace takes its cue from the title of Pilar Mata Dupont's video of the same name, and might seem apt in the return to gallery showings in the time of a world-wide pandemic that has decreed physical distancing. Filmed from a residency in North and South Korea, the central focus of the film is a staged embrace between two women, symbolising the optimism yet sense of disjunction that re-unification and reconciliations can bring. The inherent emotiveness is beautifully captured and enhanced by the high-key colours saturating the screen.

Corresponding with this are luminous paintings including a suite of Spectrumfigure works by John Young and a large painting by Marion Borgelt. A new work from the Joiner Series by Dan McCabe is featured and floor works by Marita Fraser and Abdul-Rahman Abdullah offer a three dimensional counterpoint, and in the case of the bronze sculpture from Abdullah, an embrace of a different kind.

Jacobus Capone is welcomed to MOORE CONTEMPORARY with a solo exhibition featuring a suite of eighteen paintings on paper that were made while on residency on the island of Upernavik, Greenland, in the winter of 2017. Piteraq is a katabatic wind originating on the icecap that sweeps down the coasts with speeds reaching between 180-288 km/h. The word "piteraq" translates to "that which attacks you".

Largely confined indoors, and quelling the anxieties induced by the extreme weather and hostile environment, Capone turned the recall and depiction of string games from a children's book into a daily ritual. Venturing out to collect the sea ice to mix with the gouache was an essential activity and characteristic of Capone's immersive and performative approach that guides his practice.

Studies of string games, rendered in black gouache with melted sea ice on black sugar paper, are in their intimacy charged with the magnitude of the physical and psychological challenges of living in 24 hours of darkness in a hunting and fishing village 800 kilometres north of the Arctic Circle. Accompanying these unique works is a new 2 channel HD video work and an edition photographic print.

This display was interrupted by public health restritions regarding the global pandemic. The exhibition was re-staged in September 2020 (see Project 18, above).

In his first project with MOORE CONTEMPORARY, artist Tom Mùller combines sculptural light works and wall works to address the space.

Tom Mùller's interdisciplinary practice reflects his expansive curiosity and engagement with worldly concerns - globalisation, the environment, space and time, and sequences of history. Yet, at the same time, Mùller is attentive to fine detail, to the specificities of things local, to the poetry of small, momentary and fleeting things that resonate. His interest in structures, processes and dynamics is informed by an understanding of the universe as an infinitely complex network of endlessly interconnected systems. In the natural world these systems are manifest everywhere, from the minutest forms of matter through to the grand architecture of the cosmos. In the corresponding human realm he considers these dynamics expressed through information and communication technologies and other network infrastructures. He is described as an astute observer, subtle activist and deeply humane artist. Mùller's thought-provoking practice offers vantage points from which to imagine optimistically better futures. His diagrams and graphs create rhythms in the chaos and suggest the emergence of other worlds and alternate horizons.

To celebrate the close of the year the Summer exhibition is entitled dreamingly and brings together selected works by Abdul-Rahman Abdullah, Marion Borgelt, Dan McCabe, Pilar Mata Dupont and John Young. Materially the exhibition presents painting, sculpture, photography, and installation, and in distinct ways each artist touches upon the ethereal while giving form to lucid ideas.

Abdul-Rahman Abdullah shows a new work, To dream a good luck dream, 2019, and he states:
"To dream a good luck dream offers a physical presence to intangible ideas. To sleep and to dream is to experience contiguous modes of being, a state of lightness in the dark where memory meets a subjective future. To dream about a white snake is said to bring good fortune. This work is one of the many ways to describe a sense of optimism."

In her solo showing Shuffle, Pilar Mata Dupont showcases her panoramic video work of the same name, that was featured in The National, New Australian Art earlier this year at The Art Gallery of New South Wales. For MOORE CONTEMPORARY, Mata Supont embellishes this presentation with objects in an installation that amplifies the ornamentation and colonial reverberations that are implicit in this finely choreographed reflection on the paradoxes of historical claiming, plundering and reforming.

Shuffle is a seductively charming work where an androgynous figure dressed in lace, stockings and a shell encrusted jacket commands attention and displays a repertoire of tap dance moves. Yet this artfulness becomes increasingly subversive as pillars crumble and bounty falls. Mata Dupont lives and works between Perth and Rotterdam, and her works often draw upon her experiences of living in settler colonies and former protectorates. She is informed by her Argentinean background and upbringing in Australia, Argentina and Brunei Darrusalam.

The exhibition will also include ceramics by Andrea Vinkovic that were originally developed and created for the filming of Shuffle.

MOORE CONTEMPORARY is delighted to collaborate with friend and colleague Christian Lyon presenting select art works to accompany his project THE MODERNS at Editeur. THE MODERNS is a brilliant and inspired selection of design pieces drawn from local and global designers and makers. MOORE CONTEMPORARY presents a major painting by artist Marion Borgelt that is new in from her studio, Exploding Stars: Obsidian Skies: No 1, 2018. This painting captures the artists' continuing fascination with deep space, phenomena, physics and astronomy, while exemplifying her painting virtuosity. Veiled layering of paint that hovers between translucency and opacity, and between solid forms and washes, creates an absorbing sense of atmospheric depth. Also featured are works by Marita Fraser, Kate McMillan and Tove Kjellmark that each punctuate the space with their corresponding conceptual and material dynamics.

MOORE CONTEMPORARY is delighted to participate in the sixth edition of Spring 1883 at The Establishment Hotel Sydney. In a grouping entitled The Real and The Imagined, the work of five artists has been selected for showcasing within the characteristics of a hotel room.

Works presented at Spring 1883 reflect the diverse practices of artists Abdul-Rahman Abdullah, Dan McCabe, Kate McMillan, Marita Fraser and Pilar Mata Dupont, yet each in distinct ways amplifies our perception of what is real, imagined, desired or perhaps mythologised. Spanning video, photography, painting, textile and wood, this project offers more than rich material variances. Conceptually, several works draw upon or interrogate personal and cultural narrative through literal imagery, while others reside more within the lineage of non-objective, intuitive exploration. Mata Dupont and McCabe respond to residencies in Korea and Finland respectively with saturated and heightened articulation. Abdullah continues to imbue his carved sculpture with poetic evocations that transcend representation. McMillan invests her work with layers that blur real and fictional histories, and Fraser creates an arresting dialogue between form and surface that is both diagrammatic and elusive.

Following the presentation of his major figurative paintings throughout June, John Young is represented by sumptuous examples of his colourfield abstractions. His painting practice across figuration and abstraction is underpinned by investigation into painting and perception in the digital age. Aptly titled Spectrumfigures, these new abstractions are abundantly colourful and luminous. Flows and undulations of hand-applied oil replicate a composite that is the algorithmic distillation of myriad images digitally processed from the web. Technology and humanity confer in decision-making and application, and the results are gloriously mesmerising and uplifting.

Swedish artist Tove Kjellmark is also concerned with a symbiosis between humanity and technology. Her work has been described as techno-animalism. Through video, photography, and sculpture she explores the anthropocentric emphasis in technological and robotic advancement. Kjellmark's work searches for another nature. A nature that refuses to accept a difference between technological and natural forces, that refuses to accept a given difference between human life and animal life, between mechanics and organics. By questioning precisely these issues, Kjellmark attempts to challenge Nature, creating it anew; not out of critique but through artistic experimentation. Her C-type print in WINTER II is typically refined and reductive, starkly capturing a mechanical toy bird bereft of its skin and its dark mirror-like surface, invoking a certain beauty and pathos.

WINTER II is second in a series of selected exhibitions in a program designed to introduce works, many of which have not previously being shown in MOORE CONTEMPORARY, or to present the work of new artists to the space. Young and Kjellmark are additionally joined by Marion Borgelt, Tove Kjellmark, Dan McCabe, and Marita Fraser.

Following several solo projects, MOORE CONTEMPORARY presents new works to the gallery in a series of selected exhibitions during the winter. This program introduces new works and artists, many of which have not previously being shown in the gallery. In June, works from John Young, Marion Borgelt, Abdul-Rahman Abdullah and Marita Fraser grace the space.

From the series entitled Bridge, Young's enduring explorations of historical layering and transculturality are additionally charged with the contemporary overlay of figures cloaked in emergency blankets. These paintings project dreamlike imagery yet are quietly resonant of trauma and safety, protection, security, or vulnerability framed in an otherwise anchorless state. For the apparent languidness these paintings speak to issues of enduring displacement.

Works selected convey the facility of Marion Borgelt's commanding practice across multiple media, in this instance showing her painting, objects in glass and a pleated wall work. In her practice Borgelt is drawn to the fundamental shapes of the circle, the crescent, the sphere, the spiral, the oval and the grid. Diverse as her practice is, there is a common thread in her work - the interplay of polarities - the organic and the man-made, light and shade, the conceptual and the sensual, the cosmic and the primordial, the micro-cosmic and macrocosmic. The shifting balance of dualities filters through her work. Phenomena and flux are materialised in her art.

New into the gallery is Abdul-Rahman Abdullah's Red, 2019 recently returned from its inaugural showing in the exhibition Dead Things at the Castlemaine Arts Festival. Characteristic of Abdullah's practice, this wall work evokes various readings with the red disc equally suggestive of a pool of blood or a red moon. The title of this work comes from a much quoted line in Alfred Lord Tennyson's poem In Memoriam (published 1850) - "nature, red in tooth and claw."

Marita Fraser draws upon a seminal text by the pioneering and influential American artist Carolee Schneeman who died recently in 2019, and whose legacy is unquestioned in terms of a feminist, multi-disciplinary art and performance practice. Carolee Schneeman's text Parts of a body house is implemented and abstracted by Fraser as a model in which to move through her own artistic practice, tracing and performing subjective negotiation of internal and external space, through painting, sculpture, moving image and live performance. Fraser's screen sculptures sit between set and extended painting, her paintings performing an abstraction of figure and form, her performance for camera and live, articulate internal and external voice. Together the works create a haptic movement between abstraction and figuration, formal structures and the subjective voice.

This exhibition presents new paintings in a context that amplifies Fraser's holistic framework for practice, blending formalist and intuitive tendencies, creating evocations of mood and dimension through colour, texture, armatures and sound, while responding spatially to the architectural environment of MOORE CONTEMPORARY.

Presenting a new body of work in his first solo exhibition with MOORE CONTEMPORARY, Dan McCabe turns his attention to the impact of artificial intelligence, the pursuit of automation and the double-edged seduction of devices in creating a supposed labour-free "leisure" society. His reflections upon the ethical and social implications of sophisticated AI applications that mirror human behaviours lead to speculation upon the comparative rights of highly intelligent bots, and the notion of their value in terms of work and leisure.

His works in coloured metal, glass and paint objectify these ideas through the appropriation of the aesthetics and design of high-end tech devices. Visual patterns filtered across these works are extrapolated from medical scans and imaging, as if blurring the human brain's primacy in intelligence with the reductive and rationalised finesse of its robotic counterparts.

The exhibition is accompanied with a text by Dr Christina Chau.

MOORE CONTEMPORARY announces the inaugural and exclusive Australian showing of The Dogs, by Abdul-Rahman Abdullah. Following its presentation across New Zealand in the exhibition Dark Horizons, The Dogs will be installed in MOORE CONTEMPORARY for Summer. This remarkable installation brings together the decorative glamour and abundance of light in glass chandeliers offset with the visceral and dark energy of three carved dogs, each realised with Abdullah's exceptional technical facility.

Reuben Friend, author and curator of Dark Horizons, writes:
"The Dogs presents an individual contemplation on issues relating to migration and multiculturalism in Western colonial nations such as Australia and New Zealand. Through a process of personal introspection, Abdullah sheds light on our own complicity in contributing to the economic, environmental and political conditions afflicting our international neighbours.

"The Dogs features a room full of ornate chandeliers floating above the gallery floor. Through the soft haze of refracted light a pack of black dogs appear, seemingly frozen in mid-flight with teeth bared and ears at full attention. It is unclear whether the dogs in this scene are in pursuit of a target or are fleeing danger themselves, creating a surreal, dream-like feeling that is at once both wondrous and nightmarish.

"Abdul-Rahman Abdullah has significant insight into the cultural, political and religious anxieties of both Anglo-Australian and migrant-Australian communities. While identifying strongly as a Malay-Australian, he is often 'othered' because of his name and Muslim identity. This dynamic sits at the heart of The Dogs installation, being a potent contemplation on the often inhumane treatment of Muslim migrants and asylum seekers as sub-human. The work prompts us to look deeper into these issues and into our own hearts, to consider more critically our cultural context and those of our international neighbours."

Swedish artist Tove Kjellmark presents work in Australia for the first time. Based in Stockholm, Sweden, Kjellmark is known for a body of work that has been described as techno-animalism. Through video, photography and sculpture she explores the anthropocentric emphasis in technological and robotic advancement. Her visual expression is simultaneously elegant, amusing, unsettling and charged, invoking a surprising pathos, in spite of a mechanical austerity.

Tove Kjellmark's work searches for another nature. A nature that refuses to accept a difference between technological and natural forces, that refuses to accept a given difference between human life and animal life, between mechanics and organics. By questioning precisely these issues, Kjellmark attempts to challenge nature, creating it anew; not out of critique but through artistic experimentation.

This select presentation of work by Tove Kjellmark shows five photographic works and screens a video that the artist considers as core to her ongoing practice.

Presented in association with Anna Schwartz Gallery, Selected Works provides a special opportunity to view significant art works by artists Oliver Beer, Shaun Gladwell, Marco Fusinato, Angelica Mesiti, Callum Morton, Stieg Persson and Jenny Watson, and to enjoy the opportunity to hear from Anna Schwartz herself.

This project continues an enduring, albeit intermittent, association with Anna Schwartz Gallery to occasionally present select work for Perth audiences, and expands the MOORE CONTEMPORARY commitment to offering high-calibre contemporary art by national, international and local artists. As a curator, Margaret Moore has worked with a number of these artists in prior projects and welcomes the opportunity to collaborate with Anna Schwartz to make their work available to collectors and contemporary art supporters in Perth. While this exhibition is a selection of independent pieces it does as a group set up dialogues between sound, performance, architecture and ideas of communication and narrative.

Instructions for Another Future was conceived especially for MOORE CONTEMPORARY from the artist Kate McMillan's ongoing explorations of sites of history and constructions of meaning and mythology. In a recent interview with Susie Pentelow published in the online journal After Nyne, McMillan explained:
"I'm interested in histories that have been overlooked. And I think every country has those histories... I think history marks our bodies in particular ways. And of course, when we think that about our own histories it's always located in a place and it's almost impossible to talk about ourselves, and our identity, without talking about place."

A performative presentation of a script written by the artist and voiced by a local actor serves to illuminate McMillan's visual integration of the hag stone imagery into her beautifully assembled and sewn wall works. Draped and layered swathes of velvet and silk chiffon bearing digital prints and combined with found and hand-crafted elements dot the walls. A number of these works have found their way into local collections, extending the reverberations of stories into new locations.

Project 01, the inagural exhibition at MOORE CONTEMPORARY, features new works by artists Rebecca Baumann, Marita Fraser, Jeppe Hein and Ian Strange. It celebrates the essence of MOORE CONTEMPORARY, presenting exceptional contemporary art by local and international artists.