January 14 – January 30

Hamish and Rose :: White
White is a project by Hamish & Rose, a collaboration between artists Adrian Clement and Hayley Rose Hill. The exhibition is influenced by graphic designer Kenya Hara’s 2010 publication White, which explores white not as a colour, but as a sensory experience that is linked, in traditional Japanese culture, to emptiness and silence. The concept of liminality is central to many of the works which comprise the exhibition, bringing the viewer to the threshold between the perceptible and the imperceptible. From near-invisible translucence to overwhelming opacity, the boundaries of white are challenged and become impossible to define in intellectual or dualistic terms. Through the mediums of photography, printmaking, sculpture and installation, the artists seek to express and present both the materiality and the sensory experiences of white itself.

Alma Studholme :: Accreation II : Ontological Transmutations
Accreation II : Ontological Transmutations is designed around the broken pieces of the “Firing Enso” sculpture featured in the Verge Gallery’s group exhibition Accreation Un-becoming and the Surface as Sight. The broken sculpture is incorporated into a new installation consisting of blue-coloured sand or pebble-like patterns created on the gallery floor and presented in combination with a video of mandala-like patterns created by my brain waves during meditation, as well as a video performance showing the making of the sand-mandala. The mandala-installation explores themes of: creation and accreation; being fragmented and whole; permanence and impermanence; isolation and connection; memory, identity and embodiment.

February 4 – February 27

Monika Behrens ::  The Hunting Trophy
With this new body of work Monika Behrens closely researched 17th century Dutch Still life painting. Behrens proposes that each subgenre of the tradition contains a modality exclusive to their style – beyond the narrative and semiotic readings and beyond the general aesthetic values that are conventionally ascribed to the painting genre. Her exhibition at Verge focuses on the subgenre of Hunting Trophies.Behrens has found that the relationships between objects in Hunting Trophies involve an orgy of texture friction. To reconstruct the subgenre Behrens employed materials that comprehend its modality, in this case; tangled synthetic fur, sea creatures, jelly cups, golden guns and bananas are used to comprise the texture friction. The final paintings appear more as constructed painted monsters than still life paintings.

Paraskevy Begetis, Ciaran Begley, Simone Darcy, Calre Hooper, Nicole Easterbrook, Akira Lasker, Nathan Lasker, Tom Malek, Yiorgo Yiannopoulos ::  Traces
Traces brings together nine artists, each investigating the role of temporality and memory in shaping our identities. Approaching the concept of traces from disparate artistic practices, the works document, appropriate and re-construct materials, lending new life to images, objects, spaces and histories. The Verge Gallery Volunteer Committee have curated a range of artists currently studying at the University of Sydney. Traces opens a dialogue about the role of the image and object in investigating and reinventing our histories.

March 3 – April 2

Coppice ::
Bonita Bub, Consuelo Cavaniglia, Aideen Doran, Deb Mansfield, Lena Nyadbi
Curated by Katrina Liberiou and Siân McIntyre
Coppice is the site where coppicing, an early forestry process that involves the cutting back or removing of part of a tree, shrub or plant in order to stimulate growth is practiced. Using coppicing – or coppice – as a conceptual framework, curators Katrina Liberiou (University Art Gallery) and Siân McIntyre (Verge Gallery) have selected a range of artists who strip back, rebuild, reimagine and reinvent history, memory, place and object. Coppice presents works from contemporary artists with works selected from University art collections, cultivating a dialogue between each work.

April 7 – April 30

Laura Moore :: Likeness
Likeness by Laura Moore displays the photographic series combining the traditional realms of studio portraiture with modern smart phone camera technology. Working with the themes of identity and representation, Moore utilises the collision of our photographic history and technologies to capture both the subject and shared period of photographic evolution. Current generations now share the need of validation through how many ‘likes’ are accumulated to identify themselves in present society. Present technologies are changing and redefining the photographic portrait.

Sach Catts, Francesca Heinz, Eloise Kirk, Mark Shorter, Ben Terakes :: Awkward Objects
Artists Sach Catts, Francesca Heinz, Eloise Kirk, Mark Shorter and Ben Terakes are all SCA graduates with an interest in the performativity of the art object. Awkward Objects will show five diverse practices presented through sculpture, multi-media installation and performance. The experience of their work is visceral and pre-verbal. Objects are made to be viewed and experienced with and by the body. Artworks hold performative potential either in their materiality or employment as performance props. Humour, antagonism and danger pose possible threats. The viewer is implicated, willingly or otherwise, in the play of relationships and actions the work sets out.

May 5 – May 28

Andrew Haining, Katherine Corcoran, Alex Clapham :: a/s/l/p
The world is increasingly experienced through a connected, networked and socially mediated digital interface. The infinite possibility of the virtual exists in direct contrast to the material phenomena that underpins it’s presence. Emerging representations of physical space and matter can disrupt conventional understandings of ‘the mental and social ecologies that produce us as subjects’. Through aesthetic and creative production Haining, Corcoran and Clapham attempt to resist existing systems of power. In the making of new forms and alliances (sculptural, digital, personal, professional) we explore the endless spatial plane of the emerging digital as a stage for the production of new subjectivities.

Sara Morawetz :: Time is a Fluid Construct
Time is a Fluid Construct by Sara Morawetz explores the nature of indeterminacy through performative, experimental actions. Time is framed as a fixed, immutable substance-something that cannot, will not change. Yet in truth, time is far more mercurial and indeterminate-surreptitiously flexing to reflect the specific nature of our passage through space. Through performative investigations Morawetz will examine the philosophical limits of time as a standard measure and explore the social ramifications that stem from an engagement with the fluidity of time itself.

June 2 – June 25

Talia Smith (Curator), Benjamin Chadbond, Liz McCrystal, Salote Tawale, Katrin Koenning, Young Sun Han, Marie Shannon, Nina Roeder :: The Leftovers
Curated by Talia Smith, The Leftovers is a photography and video-based group exhibition featuring artists from Australia, New Zealand, America and Germany. The delicate physical or psychological nature of the passing of something or someone is explored through the imagery of each of the artists’ work. The exhibition aims to question memories and histories that we rebuild after something has passed, the way we are left behind to and how it is that we carry on. The works in the show are sensitive yet powerful in their honesty, each work trying to keep the connection between an event or a person, trying to remember, honour and make sense of what happened.

Steven Grainger’s work addresses the nature of value, fear, personal responsibility and institutional culpability. In his first international solo exhibition, Grainger uses a legal document, historical and mythological symbols and his own body as the subject and material of his art. Central to the exhibition is the latest in Grainger’s series of Will-pieces (in which the legal document of a will and testament is developed as a form of artistic object and process). For the duration of the exhibition ‘DISPLACEMENT ACTIVITIES’, Sian McIntyre – the Director of Verge Gallery – is named as Grainger’s sole heir and, in the event of his death, will stand to inherit his entire legal estate. Grainger will exhibit the legal documents pertaining to this inheritance alongside a series of sculptures and a video exploring ideas of mortality and creativity through mythological symbols.

June 30 – July 30

OK YEAH COOL GREAT :: the Delivery
In a return to joy, OK YEAH COOL GREAT present the Delivery. Limited edition art objects are explicitly offered for sale as the artists comment on the tension between value and economics, as well as fashion and function within the commercial art world. Formed in 2010 OK YEAH COOL GREAT consists of Sydney based artists Kate Beckingham and Anna McMahon. OK YEAH COOL GREAT functions as a parallel practice for the artists allowing them an avenue to explore alternative modes of presentation.

Peter Sharp, Michelle Cawthorn :: This Is Not A Solo Show
This Is Not A Solo Show explores the dichotomy of the artists’ respective practices in form, material and content. Sharp’s practice expresses an external view of the natural world, his drawings, paintings and sculpture present a poetic evocation of things we overlook in the landscape. In contrast, Cawthorn’s practice represents an internal view, including memories and their associations which inform her visual practice and are often triggered by the artefacts of her experiences. This creative couple will intend to create a collaborative sculpture installation that investigates their opposites. The resultant art works will reflect the difficulties that all relationships face in navigating common ground.

August 4 – August 27

The Australian Centre for Photography with the University of Sydney Union Art Collection ::
The Australian Centre for Photography is partnering with Verge Gallery to provide a Curatorial Mentoring Program to the 2016 University of Sydney Union Art Collection Assistants. ACP’s Curator will work closely with the students to find new ways of considering works from the collection and curate an exciting exhibition and series of public programs such as artists talks, workshops and a panel discussion that will involve people from the University community and beyond. An opportunity for students to gain valuable professional experience, the program will focus on rediscovering photomedia based works and themes that have been rarely presented to the public.

September 1 – September 24

David Manley :: Ambivalent Structures
Ambivalent Structures interrogates the latent connection of the bunker with the urban terrain, channelling its psychological influence while addressing contemporary anxieties regarding power and control. Their presence has been linked to discourse surrounding developments in modernism, minimalism in art, and architectural brutalism. Imposing and monolithic, these structures retain a deeply ambivalent nature, as they can be at once places of security and danger, of refuge and warfare, and indeed of life and death. Ambivalent Structures is a visual and textural exploration of the aftermath of modernity through its attendant buildings and structures that are inextricably linked to the violence of water, pondering their psychological influence on the individual.

Connie Anthes, Glenn Barkley, Amanda Bromfield, Kuba Dorabialski, Rachel McCallum, Holly MacDonald, Katy B Plummer, Madeleine Preston, Eloise Rankine, Ashley Scott, Bev Shroot :: Stuck In The Mud
Stuck In The Mud by Madeleine Preston works present an archive for a revolution that has already occurred. Loosely based on early 20th Century Russian agitprop or agitation propaganda, the works will be created by multiple members of the ceramics Kil-N-it studios. Mimicking different revolutionary artefacts will combine Kil-N-it’s ideas of viewing ceramics as a medium and tradition that they stretch rather than strictly adhere to.


Opening September 28 – October 6 :: Events / performances on Oct 5th and 6th
Volumetric is a collaborative development project that will occur over a period of ten days in late September between artists Tim Bruniges, Boris Bagattini and Brooke Stamp. Working within a reflexive framework, the artists will use sound, light and movement to reinterpret the volumetric properties of the gallery space. In response to the gallery’s asymmetrical architecture, Bruniges will develop a perpetual audio feedback composition. Through analysis of extant light, Bagattini will work with the gallery’s incident and reflected light to manipulate, amplify and retransmit new forms using custom software and laser projection. Drawing from an improvisational movement practice, performer and choreographer Brooke Stamp will explore sculptural bodily form within the constructed time and space environment of the gallery space. The project will be publicly accessible throughout its development in the gallery and will culminate in presentations on October 5th and 6th.

The Annual USU Verge Awards exhibition
Opening September 29 – October 29
The Verge Awards is the University of Sydney Union’s annual student creative arts award featuring artwork, literature and music from all University of Sydney campuses.

November 3 – December 3

MOP at Verge Gallery
MODES OF PRACTICE brings together past and present MOP Projects committee members Ron Adams, Kate Beckingham, Kieran Butler, Lucas Davidson, Daniel Hollier, Richard Kean and Carla Liesch in this allied location and timely exhibition. Our mode of practice is our way of thinking about making, a philosophy that is nurtured through the experimental nature of our artist-run-spaces. In collectively discussing this exhibition, the artists have all conceptualised a work borne of their most significant moments working with MOP Projects, as they celebrate the end of an important 14-year Sydney institution. This is encapsulated by the work of co-director Ron Adams.

D_O_T at Galerie Pompom
Artists: Doris Bush, Martha MacDonald, Isobel Major, Candy Nelson, Maureen Poulson, Beyula Puntungka.
Curator: Siân McIntyre. Designer: Anne-Louise Dadak
Presented by Verge Gallery in collaboration with Papunya Tjupi Arts and Cicada Press UNSW
D_O_T explores what lies beside, beneath and around the dots that delimit contemporary understandings of Western Desert art. The exhibition features a series of drawings with intricate linework illustrating detailed stories that are significant and particular to each individual artist. A MOP project hosted in Galerie pompom presented by Verge Gallery, the exhibition presents the drawings of six artists from Papunya, translated into installation, saturating the pompom space with lines and stories from the Central Desert.