Hello again and welcome back,
This update could be viewed as extremely overdue, but I did do a double post in February and I’ve only just missed posting this in May (okay, maybe that’s a stretch). Regardless, I’m happy to share some of what I’ve been up to over the last two (and half) months.
At the start of June, I flew to Melbourne to visit my cousin Jonni. While I was there I spent time with the wonderful Daniel Regan who I had met a few days earlier at BARC’s ‘Big Trauma/Big Change’ event in late March. We went to a very stimulating exhibition by Marshmallow Laser Feast at ACMI and afterwards we had delicious dumplings!
While I was in Melbourne, I joined Jonni and his husband for Park Run. This was my first time doing Park Run and it sparked a serious (and unexpected) interest in running (this coming Saturday will be my tenth straight Park Run).
Back in Sydney, I have been checking out some of the Biennale sites, including the MCA, White Bay Power Station, and UNSW Galleries. Below are some of the highlights.
MCA
Kirtika Kain, The illusion of your history, 2023. Installation view, MCA. 
William Strutt, Black Thursday, February 6th 1851, 1864. Installation view, MCA. 
William Strutt, Black Thursday, February 6th 1851, 1864. 
Serwah Attafuah, Between this World & the Next, 2023–24. Installation view, MCA. 
Serwah Attafuah, Between this World & the Next, 2023–24. Installation view, MCA.
Ryuichi Fujimura & WeiZen Ho, Pink Regenesis of the Curse, White Bay Power Station
UNSW Galleries
Yangamini, Mapurtiti Nonga (Evil Ass Dreaming), 2024. Installation view: UNSW Galleries. 
Yangamini, Mapurtiti Nonga (Evil Ass Dreaming), 2024. Installation view: UNSW Galleries. 
Unrecorded Maker, Pallay textile, Jalq’a, mid-20th Century. Installation view: UNSW Galleries. 
Nikau Hindin, 2022. Installation view: UNSW Galleries. Individual titles here. 
Nikau Hindin, 2022. Installation view: UNSW Galleries. Individual titles here. 
Nikau Hindin, 2022. Installation view: UNSW Galleries. Individual titles here. 
Megan Cope, After the Flood IIII, 2024. Installation view: UNSW Galleries. 
Christopher Pease, Balga Resin #3, 2023. Installation view: UNSW Galleries. 
Christopher Pease, Balga Resin #3, 2023. Detail view. 
Udeido Collective, The Koreri Transformation, 2024. Installation view: UNSW Galleries.
Other exhibitions I’ve been to include: Gary Dermendjian, ‘The Aesthetics of Nil Intent’ at SLOT Projects; Creation (instigated by Deborah Kelly) at Petersham Town Hall; Andrew Christofides, ‘Evolving Hierarchies’ at King Street Gallery; Christopher Firmstone, ‘Red Limousine’ at Chauffeur; Elizabeth Day, ‘Unravelling’ at Mais Wright; ‘SNO 176’ at Artbank; Tom Loveday, ‘The Fourth Dimension’ at Mais Wright.
Gary Dermendjian with Nuno Rodrigues de Sousa, ‘The Aesthetics of Nil Intent’ at SLOT Projects 
Andrew Christofides, Leap of Faith, 2022. ‘Evolving Hierarchies’, King Street Gallery. 
Andrew Christofides, The Souls of Chimney Sweeps After William Blake, 2024. 
Christopher Firmstone, In and On, Black, 2024. ‘Red Limousine’, Chauffeur. Photo: Michael Waite. 
Christopher Firmstone, Untitled 8 Part Vertical Stack, 2024. Photo: Michael Waite. 
Lottie Consalvo, I Put It Here So You Could Find It, 2018. SNO 176, Artbank Sydney. 
Tom Loveday in the ‘The Fourth Dimension’ at Mais Wright. 
Tom Loveday, ‘The Fourth Dimension’ at Mais Wright. 
Juundaal Strang-Yettica in regalia for Creation. Image: Deborah Kelly. 
Elizabeth Day, ‘Unravelling’ at Mais Wright.
Observant readers may have noticed that I haven’t said anything about my own projects. Don’t worry, I have been making steady progress! I’m looking forward to sharing more information about my process in the next blog post. So stay tuned… And remember, for all the latest updates make sure you’ve signed up to my mailing list or follow me on any of the various social media platforms (LinkedIn, Instagram, Facebook, Tumblr).
Tom Isaacs 