FRONT GALLERY | SETS FOR A FILM I’LL NEVER MAKE | Daniel Agdag  | Introduction by Adam Elliott
Daniel Agdag, a Melbourne based artist and filmmaker, is presenting his first solo show, “Sets for a Film I’ll Never Make” . A playful nod to his short career as an animator, “Sets for a film…” presents a meticulous industrial world of his own imagining. The unassuming use of boxboard as a medium belies an elaborate world of transmission and communication that preserves the incessant redundancies of the modern industrial world. His short films have screened worldwide, and garnered a Dendy Award and an AFI nomination. His work has been described as architectural in form, whimsical in nature and inconceivably intricate.

PRESS
This is Colossal | Herald Sun Newspaper | Visual News | Contra | Clutter Magazine | Time Out

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BACK GALLERY | IN NATURAL LIGHT | Priscilla Manthey
These portraits have been drawn from the now accessible Soviet OGPU and KGVD archives. These portraits compel. Taken in the most routine conditions of available light and  bureaucratic process, the crisis being experienced by the arrested subjects produce artless images of startling intimacy. The fate of the children left behind after their parent’s arrest as “enemies of the people” was very harsh. Many could not go to relatives, and most determinedly strove for reacceptance into society, necessitating a life-long strategy of denial,  deceit, and political conformity. Thus a life sentence of collusion was formed with the very system that had taken their parents from them.

UPSTAIRS GALLERY | RECOGNIZABLE SPACE | Stephanie Leigh
The collection consists of a series of oil paintings on plywood that focuses on the relationship between humans, objects and their habitual spaces. Each painting consists of different subject and object content whilst morphing into a hybrid of the two. The paintings discuss issues of how the body is governed by architectural spaces, specifically domestic space. The figures and perspective lines are painted on plywood which is conventionally used for making walls, floors and furniture. The physicality of suggested space is just as important as the figure due to the fact that they are all painted with simple meticulous marked lines, suggesting no detailed representation. The drawings are ambiguous and apart of pleasure is looking at the familiar lines and seeing how your body fits in with these constructed spaces, whilst getting lost in the grain of the plywood.