by Pila Darling

Viewing Drinks: 11th November 7-9pm
Exhibition runs: 11th November - 29th November
On display to the public every night from dusk until late

pila darling video art contemporary art melbourne projection media

Pila Darling draws on inspiration primarily through an “unconventional” set of life experiences, their work responds to societal reactions of their existence, is a tool to examine, process and unlearn trauma, and seeks to expose joy in an otherwise hostile environment. Time For Oneself Isn’t Always Alone is part of a re-direction for the artist. Turning focus away from the chargeable, less than, trans/disabled narrative, to the ways they find fulfilment and happiness. It is a celebration of self care, love and support. This work is the first instalment of a larger project Pila is currently engaging which challenges the ideals of competitive individualism.







by Max Turner

Viewing Drinks: 14th October 2016 from 7pm
Exhibition runs: 14th Oct - 5th Nov 2016
On display to the public every night from dusk until late

max turner projection melbourne space

Max Turner is an artist, musician, filmmaker and cinema usher, currently finishing his undergraduate in Fine Art at Victorian College of the Arts. Predominantly working with video, his work is heavily influenced by a childhood almost entirely occupied within the world of TV and weekly VHS rentals, and the (potentially devastating) effect this has had on our perception of the world. Working with captured VHS tapes, preexisting Internet footage and original content, Turner’s videos are an attempt to locate himself, often literally, within a reality that has been synthesised between the real world and the screen world. What A Way To Make A Living is a site-specific work created for Melbourne Projection Screens.



BABY FORMULA by Georgia Mein

Viewing Drinks: 23rd September 2016 from 6pm
Exhibition runs: 16th Sep - 7th Oct 2016
On display to the public every night from dusk until late

melbourne projection space blender studios baby forumal public art georgia mein

Georgia Mein is a Melbourne based artist graduating from a Bachelor Of Fines Arts at the Victorian College of the Arts. Georgia’s intimate practice dissects the simultaneity of humour and grief, motherhood andchildhood, trauma and vulnerability, play and danger, sexy and ugly, and the personal and political, addressing larger philosophical questions and her own emotional states. Baby formula teases out these relationships and complexities in a 2 channel video projection. Milk, it’s a first food, it's nutrient-dense, and yet, when not stored in the right conditions, it can make us sick.



A Sea Of by Tori Lill

projection art video melbourne tori lill blender studios

Exhibition Dates: 12.8.16 - 11.9.16
Exhibition Opening:
12th August, 6pm onwards
Tori Lill is an artist based in Melbourne currently completing Bachelor of Fine Arts at the Victorian College of the Arts. Tranquil in its distance but disquieting in its power, Tori’s video and photographic processes transform the landscape into a vague and disorientating static. A lifeless and abstract sea of colour silent and indefinable in its projection. The removal of place and temporal existence forms the experience of being in an impenetrable non space devoid of human emotion. Tori also employs linear elements to interrupt the indistinct visuals of the work and to act as a foregrounding presence to the feeling of oblivion. Her work is an exploration of meaning, or indeed, lack thereof.


tori lill melbourne projection video art




Reflective INK by Radiance

Opening Night: 29th July 6-9pm
Exhibition runs: 27th -31st July
On display to the public every night from dusk until late

rose staff projection exhibition radiance

Radiance explores the process of remediation to transform hand drawn illustrations into a new media installation using interactivity and projection mapping with digital encoding. It brings together a convergence of formats from print to moving image through an interdisciplinary approach to media production. The simple expression of mark­ making becomes enhanced by new media technology exploring the interplay between analogue and digital, the hand made and the computer generated.

The illustrations hold memories inside their patterns, with stories told about personal reflections and processing of experiences in their designs. These stories are not intended to be decoded by the viewer but are more an exploration on the way that we can share memories with one another. The stories, started in the patterns by the artist, are unfinished until the viewer weaves their own version of the ending through interactively generating new combinations of the patterns. In this way memories become living concepts as they weave stories into the present rather than being captives of the past.


rose staff exhibition projection art melbourne



Dolly by Jenny Mai Hall

Exhibition Dates:
04.12.15 - 07.02.16
Exhibition Opening:
04.12.2015 6PM onwards
Running in conjunction with the Blender Christmas Exhibition

On display to the public every night from dusk until late

If I hadn't been born a woman, I'd be a drag queen for sure. - Dolly Parton

DOLLY uses video to produce self-portraits and utilizes the digital monitor as a mirror whilst preforming acts of narcissism, vanity and truth. Artist Adam Paul paints a portrait directly onto Hall’s face in drag-queen style to investigate gender and beauty.

Jenny Mai Hall is a multidisciplinary artist whose practice spans over 15 years. More recently, Hall’s work investigates topics that surround identity and unpacks the issues around gender and beauty within the twenty-first century.

by Youjia Lu

Exhibition Dates: 30.10.15 - 22.11.15

Chora is an ancient Greek term for a location outside society, or for an unformed substrate of the self. I use this word as a gesture toward my unsocial, unformed self – or a gesture slipping away from my self – in a state of being fluid and apparitional. This gesture uses my body and face like photographic emulsion, exposed to an image in a dark room that is projected onto it from an enlarger.

My body fluid is the bath of developer.
I soak in my image just as my face floats in its solution.
My mouth fills with saliva.
My eyes are blinded by amniotic fluid.
Like darkroom processing, Chora then appears as I drown in the stop bath

Youjia Lu is a Chinese Artist currently undertaking her Master of Fine Arts (Visual Art) at the Victorian College of the Arts in Melbourne. She has shown at Columbia University (New York), the Digital Entertainment Jam (Beijing), Marvel: The 2014 Windsor Prize, The Windsor Hotel (Melbourne), Fringe Film: Digital Creatures (Melbourne), Seventh Gallery (Melbourne), George Paton Gallery (Melbourne) and Chin Chin Wall of Art (Melbourne), and has recently accomplished her first artist in residency in PICTURE BERLIN (Berlin).

She has been the recipient of significant awards and acknowledgments for her work including being a finalist in the highly competitive Windsor Prize and the winner of NGV Women’s Association Graduate Encouragement Award and John and Mary Kerley International Scholarship. Her pieces feature themes of individuality, relationships and human inner states. She continues to develop a strong desire to explore the conversation between traditional arts and video or projected visual mediums; “the art in the video/image” and “the video/image in art”.

Youjia Lu

Face to face with yourself by Marcus Encel

Taking one on a dream walk through a winding malaise of midnight musings, this piece explores the idea that whatever ones thoughts, problems, aspirations and dreams, wherever you go whatever you seek, you come face to face with yourself.

The show depicts the anxiety and conflict at the edges of sleep disorder and insomnia where the border between waking and sleeping blurs, as one sleepwalks through a waking dream

(b. 1963) Marcus Encel is a Melbourne based artist working primarily in the areas of Video, Sculpture and Installation.

Marcus Encel

Never Forget to Remember by Adrian Doyle

Its been three years since controversial artist, Adrian Doyle’s last exhibition. This is a long time for an artist that has had over 20 solo shows. But the Melbourne based urban artist has been busy doing almost everything. In the last three years Doyle has created his own reality show, created large scale public murals, he offended much of the urban art world by painting Rutledge lane Baby blue, and had one of his public art works changed after Doyle painted a portrait of his dad on the cross. More recently he created an art project for Disney’s Tomorrow Land. The award-winning artist will be pushing his well-known critique on the Australian Suburban lifestyle.

In his new show. ”Never forget to remember” In this show, Doyle’s personal suburban experience has been explored through installation, painting and sculpture. In one of his artworks, Doyle has controversially built a gold bullion house out of dollar coins. ‘The coins have become more valuable in their new context, the coins have changed, they have become an icon of the Australian dream.’ Claims Doyle.

His playful and iconic paintings have underling dark and honest portrayal of Doyle’s suburban experience. Doyle states, “Most Australian’s are guilty of suburbia, too understand suburbia is to understand Australia.” Doyle’s craftsmanship and concepts will be sure to create talk. He is one of Australia’s hardest hitting artists. Love or hate this controversial artist, his show is sure to be one of the most important shows of the year.

Adrian Doyle

memory:remediation by Rachel Kendrigan

from the performance Untitled: Drawing for Mildura Palimpsest #9

The performance involves the body as the active agent within a ritual associated with creation, intimacy and personal transformation. The preparation of medium, using the body as a drawing instrument, and an intimate washing of the body represented a transition to a new beginning- the body as a palimpsest. The materials; red wine, rose petals, charcoal, soil, makeup, oil and ash are associated with femininity, nature and ephemerality, which exemplify and conjure ideas about transformation.

Rachel Kendrigan is a multidisciplinary emerging artist, originating from the regional town of Mildura in Victoria where she gained her Bachelor of Visual Arts through La Trobe University. She is now based in Hobart, Tasmania. Her arts practice and passion is centred around drawing, and using the notions of drawing as a starting point for exploring the body in space, the body as a drawing tool, and the creation of line through movement in space. Rachel engages in performative actions in spaces and landscapes to which she holds a personal connection. Rachel presented her first live performance at the Mildura Palimpsest Biennale #9 in 2013 and has gone on to further explore the remediation of her performative practice through video, photography, objects and installation. She recently graduated first class from the Tasmanian College of the Arts Honours Research program, her thesis being on the remediation of ritual performance through its traces.

Rachel Kendrigan

Underneath by Stephanie Gleeson

Running in conjunction with the Blender Christmas Exhibition

UNDERNEATH seeks to express the urban signals and energies of various sites around Inner-Melbourne. The work presented is an investigation of the City as an urban interior impregnated by digital fields and networks.

Stephanie Gleeson, Melbourne Projection Space, Blender Studios

UNDERNEATH is a by-project of Stephanie's Urban-Activation Projection Projects (2013 - 2014).

Stephanie Gleeson, Melbourne Projection Space, Blender Studios

Stephanie Gleeson is a Projection Artist and the Curator of Melbourne Projection Space. Stephanie comes from a Spatial Design background which influences the powerful locations and site specificity displayed in her public art.

Stephanie Gleeson, Melbourne Projection Space, Blender Studios

A preview of UNDERNEATH will be held at the Blender Christmas Exhibition and then will be showing between 04.01.15 - 31.02.15 each evening from dusk until late.

Feed The Birds by Melissa Deerson

Feed the Birds plays with the junctions between nature and the man-made which are most obvious in city ecologies – the blurry lines between human and not-human and the role commerce has in shaping those interactions.

Melissa Deerson,Stephanie Gleeson, Melbourne Projection Space,

An absurd mixture of awkward puppet show and 1980s commercials, the deceptively ad-hoc works gently interrogate our conceptions of urban environments.

The videos call to the avian inhabitants of the city, presenting them with an idealised vision of where they live - tempting them into a saturated realm where hot chips dance and ice creams, birdseed and potato cakes drop from the heavens.

Melissa Deerson is a Visual Artist and writer who has exhibited widely in Australia, using video, text, installation, ad-hoc objects and public projects to explore the relationship between nature and culture. Melissa's work, often humorously, explores the indistinct boundaries between human and non-human domains.

Her art revolves around questions such as: how do we define our concept of 'aliveness' and 'the natural' - and when does nature become art? How insidious are our alterations and interventions into the natural world and what does this mean for our place in a wider ecological setting?

Melissa recently received an Australia Council ArtStart grant and a Copyright Agency grant, which are enabled her to travel to the US to continue her research, where she participated in a Bio Art residency at the School of Visual Art, New York.

Crane by James Nguyen

James Nguyen,Melbourne Projection Space,Stephanie Gleeson

These installations explore the tensions between the artists’ body and it’s spectatorship via the camera. As documentation, the moving image fundamentally decentralises and defers the performance. But as a recording process, this medium accrues the collective performance of both mechanical and human effort.

James Nguyen,Melbourne Projection Space,Stephanie Gleeson,Nite Art,
Despite the subtext of diaspora and filial dependence in my practice, the performative potential of the camera is central to my research. Thus far, the writings of Hugo Münsterberg and Jacques Derrida have informed the preliminary investigations into the language of cinematography. Perhaps by embedding this technical language into the performance, the camera can move beyond passive documentation and make incursions into the performative.

James Nguyen,Melbourne Projection Space,Stephanie Gleeson,Nite Art
James Nguyen has a background in painting and installation, completing his undergraduate studies at the National Art School (Sydney). His current MFA research at the Sydney College of Art explores the performative potential of the camera. Applying a range of material and conceptual tools to his work, Nguyen attempts to explore the many aesthetic and political contradictions of the body and the object. He also extends his practice with multiple online, curatorial and collaborative projects.

James Nguyen,Melbourne Projection Space,Stephanie Gleeson, Nite Art

Whitewash by Tania Terrier

WHITEWASH is a short video clip made by artist, Tania Ferrier as the final piece in a project examining the history of a building on Rottnest Island, Western Australia, called The Quod.

“Quod” means gaol in old English slang, which is what the building functioned as from 1864 to 1903 after which it was converted to tourist accommodation for ensuing generations of Western Australians.
It’s prior history as the notorious Native Prison where over 400 Aboriginal men died in the cells from the inhumane conditions was as easily whitewashed as the cells which became the bedrooms for tourists. The spelling of “Quod” was changed to “Quad” in an attempt to shake off the historical reference to a gaol.

Today it remains accommodation as part of the Rottnest Island Lodge Resort.

Tania Terrier,Stephanie Gleeson,Melbourne Projection Space
WHITEWASH is a video that lets us reflect upon the whole of Australian history and how we as a nation have colluded in the collective forgetting of the past.

Tania Terrier,Stephanie Gleeson,Melbourne Projection SpaceImages by James Kerr

Tania Ferrier’s
art practice spans thirty years in Western Australia with a period of four years living and working in arts and film in New York, USA in the early 1990’s. On her return to Perth she found work in the Western Australian film industry which she maintained alongside her art practice which was primarily as a painter. In late 2012 Ferrier relocated to live in St. Kilda, Melbourne where she has gained employment in the Film and TV industry on a part time basis along side her art practice in St. Kilda.

Ferrier’s painting practice maintained a theme on social justice since her first major body of work in 1988 titled “The Bicentennial Series” which involved interpretive illustrations from Battye Library texts about early Australian colonial history involving Aboriginal people. Since this time, Race Relations and Feminism are core themes in her work although a concurrent painting  and drawing style has balanced her mood and allowed for freedom, invention and play within her practice.

In recent years, Ferrier’s practice expanded to include collaborations with other industry professionals and with indigenous Australians and minority cultures in both Australia and the United States of America. Currently she is collaborating with text based artist Laura Mitchell in the re-development of the video collage “Talkback” and the development of a mulit- media, black box exhibition at Heathcote Museum and Gallery in Perth in late 2014 and for the Academy of Fine Arts in Virginia, USA in early 2015. Ferrier is the recipient of numerous grants and awards and has work in most major collections in Western Australia and private collections nationally and abroad. Her most recent exhibition of her video collage at Melbourne City Library in November, 2013, was the result of a Department of Culture and the Arts Grant.

Whitewash celebrates NAIDOC Week (6th-12th July). Held across Australia each July to celebrate the history, culture and achievements of Aboriginal and Torres Strait Islander peoples.

The Long and Short of Quick Time by Katie O'Brien

The long and short of quick time (2013) draws on the practice of graffiti to explore the multiplicity of times embedded in fleeting urban interventions. In particular, the work explores the dialectic relation between the fleeting “Performative” moment and the sustained “Reception”.

Katie O'Brien, Melbourne Projection Space, Blender Studios, Stephanie Gleeson

Using pictograms and hand held light sources; it opportunistically intervenes in existing conditions and draws on, in and around them. These fleeting interventions (light constructions) are photographed and recorded as they are performed, and the resultant images manipulated into film based installations to unpack and make explicit the range of experiential times generated by the initial intervention.

“These works investigate my curiosity surrounding the often-unidentified street artist. Through filmic manipulations I reposition the individual from mere author to pedestal performer. As this transformation occurs the individual surpasses what they create and in doing so, they become the intervention themselves.” – Katie O’Brien

Katie O'Brien, Melbourne Projection Space, Blender Studios, Stephanie Gleeson

Katie O’Brien is a Melbourne based Designer. Her company Super Tectonics is a multidisciplinary studio working across architecture, design, graphics, branding and film. With degrees in Design from both the Queensland University of Technology and the Royal Melbourne Institute of Technology, Katie’s recent film works feed her endless obsession with street culture and it’s compelling evolution through digital platforms.

Katie O'Brien / Super Tectonics

The Editor by Matto Lucas

Melbourne Projection Space, Matto Lucas, The Editor, Midsumma, Stephanie Gleeson

I own this space.

Creating art is a way for me to belong to myself. Using photography as a foundation I exploit the perception of truth and value. Through constructing false realities or by attacking the photograph directly, do these tainted images retain their façade? Do they still represent a believable truth? Is this valuable? In questioning human worth, my concern is to own space or property, whether that is intellectual, conceptual or physical (gallery) space. The artworks present the manipulated body that transgresses both fragility and empowerment. It exists to be both frightened and frightening.

It exists.
I exist

Melbourne Projection Space, Matto Lucas, Midsumma, Stephanie Gleeson The Two Sided Sacred

Visual Artist Matto Lucas uses artist's flesh as the medium in his performance installation The Editor. Taking his experiences as a photo editor and retoucher, Lucas aims to expose the values of a society obsessed, influenced and deceived by the manipulated photograph - or 'false icon'. Can we still recognize ourselves in the hybrid identities that new technologies impose upon us? Does a photograph, in this pixel-mashed, instagram-fed, hyper image-saturated world hold any value, authenticity or truth anymore?

Melbourne Projection Space, Matto Lucas, Midsumma, Stephanie GleesonMelbourne Projection Space, Matto Lucas, Midsumma, Stephanie Gleeson
Phobia As Abortive Metaphor of Want (Left), I Am Afraid Of Being Bitten Or I Am Afraid Of Biting (Right).

Through the video projections, we see the silent, slow and tragic mutilation of the ‘truth’ of the photograph into it’s transformed False Icon, and within this transformation, Lucas asks the viewer to participate in the questioning of what is true, and what is false, what is real and what is not, what is beautiful and what is ugly. Just as evil and sin are the opposites of good, whose hell they represent, so is ugliness, the ‘hell of beauty.’ Is ugliness the opposite of beauty? A kind of possible error that beauty holds within itself?

Matto Lucas / Midsumma

Drawing out Substance by Sophia Burns

Melbourne Projection Space, Sophia Burns, Stephanie Gleeson

Michel de Certeau states that ‘space is like the word when it is spoken… when it is caught in an ambiguity of actualisation…’

'My video works are low-tech and feature substances (mostly paint and dye) in a gradual state of transition, assisted by movements of the body. I have focused on the slow and the real rather than the speedy and the virtual. My works derive from the concept of an object saturated in paint or dye. The substance becomes separated and dispersed in space. During the performances there is an increasing connection with time and actualisation of space.' - Sophia Burns

Sophia Burns lives in Melbourne where she recently completed a Bachelor of Interior Design at RMIT University. She was trained as a ballet dancer for eleven years. Her past life as a ballet dancer in training has influenced her current work, which is performative and focuses on movement, duration and relationships between body, substance and space. Sophia’s video works show the creation and activation of space. This is achieved by spending time ‘drawing out substance’ over an area defined by the camera lens.

Exercises in Hopelessness by Sans Hotel

Melbourne Projection Space, Stephanie Gleeson, Sans Hotel Nicola Gunn, Gwen Holmberg-Gilchrist, Michael Fikaris, Pier Carthew


'I use a lo-tech multi-disciplinary approach to live art works and contemporary performance that explore the use of 'space' and social engagement in contemporary theatre. My main concern is making private 'space' public. I have a holistic approach to creating original works by taking responsibility for each production from conception to realisation. The resulting work deliberately occupies the undefined territory between representation and reality, appropriation and portraiture.

Borrowing from the languages of visual arts, dance and theatre to explore a unique mode of self-expression, I make works that include the public in the process. This can be an unknowing collusion by siting works in public spaces or through active audience participation in a performative model.I am fascinated with the immersive potential of the theatrical experience: the communication of an idea from performer to audience and back again. I am interested in creating works that are consistent with ‘post-modern’ types of metafiction – works that put or display the idea of ‘truth in fiction’ and ‘fiction in truth.’ To do this, my work tries to be open-ended, using non-linear narratives and the juxtaposition of different genres and art forms to show continual slippages of self. The incorporation of different media into my art practice is to examine how the 'space' we occupy informs who we are, how we relate to others, and how playing with ‘space’ might give us some partial glimpses into why we do the things we do. I incorporate video in performance works to extend the life of the work and reconfigure and re-contextualise the ephemeral live experience.' - Nicola Gunn

Melbourne Projection Space, Stephanie Gleeson, Sans Hotel Nicola Gunn, Gwen Holmberg-Gilchrist, Michael Fikaris, Pier Carthew

SANS HOTEL is Nicola Gunn, Gwen Holmberg-Gilchrist, Michael Fikaris and Pier Carthew

Pier Carthew is a performer, photographer and videographer. As a regular ensemble actor with The Rabble he has appeared in Salome, Cageling, The Story of O and Room of Regret. Most recently Pier's autobiographical devised solo work, Miracle Man, co-devised with Nicola Gunn, was performed to critical acclaim and sold-out houses in its La Mama 2011 season and its Perth Fringe 2012 season.

Michael Fikaris
is a Melbourne based artist working with contemporary comic books, illustration and print and has been exhibiting work for over 10 years. He runs Silent Army Comic Collective and has had his art collected by various people and organizations including the National Gallery of Australia in Canberra (Space Invaders) and has done many artist residencies in Melbourne including the NGV studio (Inherent Vice). Michael is the editor of ‘Dailies’ – a Melbourne based comic paper that ABC National Book and Art Show described as “...what could happen in Australian comics in the next ten years.”

Gwen Holmberg-Gilchrist
is a multi award-nominated lighting designer. She has designed over 100 productions, exhibitions, fashion shows and installations since 2004, including Turtlelab's Ulrike Meinhoff Sings (2011), Shaun Macleod's The Weight of the Thing Left its Mark (2011 Dance Massive), Carlee Mellow's In the Dark: Deborah Hay Solo Project (2010) and Kreutzer Sonata and Raising the Dead (2007) for Humphrey Bower. From 2009 to November 2012 she was the Technical Director at Dancehouse and currently works as an AV technician at ACMI.

Melbourne Projection Space, Stephanie Gleeson, Sans Hotel Nicola Gunn, Gwen Holmberg-Gilchrist, Michael Fikaris, Pier Carthew Melbourne Projection Space, Stephanie Gleeson, Sans Hotel Nicola Gunn, Gwen Holmberg-Gilchrist, Michael Fikaris, Pier Carthew

Sans Hotel / Review


Smile though your heart is breaking by Michelle Knowles

Melbourne Projection Space Michelle Knowles Stephanie Gleeson

Smile though your heart is breaking (2013) follows the movements of a group of bright, tethered kites. Floating against a backdrop of clouds, their movement is restricted by their tethers and engineering. A yellow kite enters the scene, dancing and dipping more freely on the breeze. It is decorated with a simple smiling face. For the artist, the video is a meditation on the seemingly transitory, fleeting and unpredictable nature of existence - one that is bound by rules that tether us all to the lived experience.

Michelle Knowles is a Brisbane based visual artist. Her practice explores notions such as the uncanny, the fetishisation of objects, performance and ritual, the otherworldly and imaginary spaces. A curiosity in belief systems and broader spirituality drives the conceptual underpinnings of her practice. This interest has been the catalyst for experiments in both video and photographic works that utilise objects, including handmade artefacts, as tools for transformation.

Michelle has a BFA (Visual Arts) with Honours from the Queensland University of Technology. In 2011 Michelle undertook a winter residency at the Banff Centre in Canada which culminated in an exhibition of her work. She most recently exhibited a solo exhibition at Sawtooth ARI in Launceston. Her work has been exhibited widely in Brisbane galleries such as The Block, Metro Arts, Gallery Artisan and QUT Art Museum, and in artist run spaces such as Level, Accidentally Annie Street Space and inbetweenspaces.

Michelle is a founding member of Current Projects, an artist run initiative that provides exhibition opportunities for emerging and mid-career artists.

Michelle Knowles
/ Review


Parametric Space by Kit Webster

Melbourne Projection Space Kit Webster Stephanie Gleeson

'Pursuing my interest in the relationship of spatial complexities, the aim of ‘Parametric Space’ is to develop a shape that is non-linear and apparently structurally unsound in its appearance. Protruding into the surrounding space, the work aims to redefine its environment and create a sense of spatial unease. Through CAD design, the piece is shaped in such a way that it can be completely illuminated with two projectors. Projection ‘mapping' then allows different video elements to be isolated to specific surfaces. Alternating video textures can be applied to each face and artificial shadowing derived from the CAD model can be projected back onto its physical counterpart, raising the idea of the existence of a 2.5D ‘interdimension’.

The sculpture also seems to exist in a way that does not clearly position it within its space. With shards that pierce its surroundings, the piece seems to be fixed yet broken, conveying a sense of controlled chaos. The work expresses my interest in the deep abstraction of form through the combination of 2D, 3D and digital and physical dimensions, and how these realities relate to consciousness. It also explores forms of interplay between the physical, digital and mental aspects of what we do.

I hope the viewer can appreciate the aesthetics of the work while also considering its meaning, not only in the context of a gallery space but also in relation to their own realm of consciousness.' - Kit Webster

Ranging from site-specific projections to synesthetic sculptures, Kit's work utilizes multiple programming and visualisation techniques to create experimental concepts designed to expose the potential for a new audiovisual aesthetic.

Kit Webster / Review



Melbourne Projection Space

Curated by Georgia Roxby Smith



Peace Anthology 

Peace Anthology
 is inspired by Syrian sign writers during the Arab Spring writing how much they love their country on the walls of the cities of Syria.
Peace Anthology is intended to extend and share the notion of love to other countries in conflict around the world.  This particular incarnation brings the Syrian expression of love to the streets of Melbourne with a focus on countries associated with the war on terror.

Melbourne Projection Space Melbourne Projection Space

Fiona Hillary is a Melbourne based artist whose work explores memory and text in site-specific contexts.  Peace and the disruption of peace are common themes in Hillary’s work.  She currently teaches in the School of Art, RMIT and the Centre for Cultural Partnerships at Melbourne University, Victorian College of the Arts.