In the Space Between: Memory, Matter, and the Mythic - Group Show

Simon Ganshorn’s paintings arise from a deep sense of ancestral memory and nonlinear time. Through layered, intuitive mark-making, he channels vivid, haunting visions, transforming memory into atmospheric transmissions rich with ritual and repetition. He is drawn to beauty that completes you in a feeling, and to objects that bring meaning—transforming the seemingly devoid into the suddenly essential.

Ryann Woods Ham investigates intimacy, femininity, and belief as evolving, intertwined threads. Her practice links personal memory to communal narrative, suggesting that our inner lives are shaped by the myths we share and inherit, bound by rituals of care and vulnerability.

Brian Napier creates sculptures that explore the relationship between the human body and the built environment. Recontextualizing architectural and civic forms through reduction and minimalism, he distills functional objects into contemplative encounters. Stripped of utility, these forms confront the viewer at a bodily scale, prompting reflection on how space shapes human perception and experience.

Kate Rusek’s ceramics combine highly textured surfaces with autobiographical materials, rendering absence as something tactile and present. By integrating objects such as medical documents, fertility packaging, and textiles, her intimate, organic structures become vessels of personal and cultural memory—quiet yet insistent monuments to bodily experience and loss.

In the fantastical, surreal world of Maíra Senise, hybrid forms—blending human and animal—disrupt conventions of femininity and childhood aesthetics. Her unsettling fables and ornamental distortions blur the line between fantasy and form, interrupting familiar narratives with strange, subversive figures.

Igor Sokol’s work explores time, memory, and emotion through simplified forms and bold, evocative color. Grounded in nature’s cycles and contrasts, his compositions seek harmony within dualities—light and shadow, presence and absence, structure and fluidity—offering meditative reflections on transience.

For Linda Sok, distance and absence become inciting forces through which her practice unfolds as acts of weaving, ritual, and material translation. Rooted in her Cambodian cultural heritage, Sok considers her Australian upbringing a fracture through which to untangle personal and historical trauma. Positioning memory, speculation, and imagination as equally valid archives, she blurs the lines between fact and fiction.

In the surreal, vibrant paintings of Xiangni Song , humans and animals coexist in uncanny harmony. Drawing from dreams, folklore, and cinema, her work explores gender, identity, and transformation—blurring fantasy and reality to allow the surreal to speak a deeply personal truth.