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"Strange Meadows"
Exhibition
Exhibition
Enchantment is commonly defined as a feeling of great pleasure or delight. It is also defined as a state of being; a psychological state with some physical effect, or for the whimsical and witchy, a trance invoked by the use of spells or magic. Through his practice as a painter and sculptor, artist Eduardo Wolfe-Alegria evokes enchanted states of being, delving into the myriad contexts in which they manifest. His bold, dreamy oil paintings and textural, tactile sculptures depict surreal lifeforms and landscapes, employing fantasy and symbolism to convey a multitude of narratives. Brilliantly vibrant and deliciously camp, these works speak to the rich complexity of his inner life, imaginings and relationships, in turn highlighting a vital sense of connection to place, environment, living things and the universe at large.
Wolfe-Alegria’s new show ‘Strange Meadows’, opening at Oigåll Projects in November, is inspired by a period of five years which the artist spent living on a rural property in Walbunja country in the Southern Tablelands of NSW. Set amongst sparse and rolling scenery, he became increasingly fascinated with the flora, fauna and natural phenomena he found himself immersed in. Witnessing the once parched landscape bursting with life and colour following unusually heavy rainfall, this period of time served as a poetic reminder of nature’s own powers of enchantment, transformation and resilience. This period and series of works also represent a grounding of Wolfe-Alegria’s practice in his lived experience, a process of ‘enchanting the real’, in which imaginary visions, and ‘real’ scenarios and landscapes coalesce.
These heady visions of pastoral life, animals and nature, also take on a decidedly queer sensibility; linked to a sense of escapism, infused with colour and fantasy, Wolfe-Alegria processes the world around him to create a space which is beautiful, transportive and reflective of his internal subjectivity. Similarly, there exists a palimpsest of sorts within the works, tied to Wolfe-Alegria’s diasporic North and Central American heritage. Growing up in Australia and experiencing a sense of being in between identities, this blurring of what belongs, what doesn’t and the resulting middle ground of assimilation, takes on subtle but resonant meaning. The delicate politics of this paradox of belonging emerges in his depiction of invasive or ‘pest’ species such as introduced grasses and weeds. The anthropomorphic depiction of these weeds as well as creatures like alpacas and horses, introduced to the landscape for agricultural purposes, carry symbolic significance as something foreign made familiar, their identity and agency expanded to become more nuanced, charismatic and meaningful. This blending and blurring, the heightening of experience and the presence of layered ideas, highlights Wolfe-Alegria’s ability to transform the mundane, celebrating the power of fantasy and narrative, and enchanting us as an audience.
Photography by;
Annika Kafcaloudis
‘ORIGINS’
Exhibition
Exhibition
For more than a decade, Melbourne-based Golemac has honed her craft across art direction, photography, set design, fine art, curation, and consulting, developing a recognisable language expressed through precision, material exploration, and a desire for emotional resonance.
Rooted in sensitivity, the works in Golemac’s first solo exhibition are quiet and contemplative, unassuming but gradually revealing their depth over time. Her choice of materials—aluminium, steel, rubber, latex, and wood—reflects a fascination with the interplay between industrial and domestic environments, recontextualising these functional elements into vessels. Each object becomes not only a holder of its own physicality, shaped by experience and memory, but also a symbolic container for what it may one day hold—whether sentimental or ordinary. In considering their placement and the journeys they have taken before arriving in our hands, Golemac elevates the concept of provenance, urging us to reflect on the unseen layers of significance that surround even the most commonplace objects
Photography by;
Annika Kafcaloudis
"HOME SWEET HOME"
Exhibition
Exhibition
“I’m drawn to something fugitive and just beyond reach, at once known and yet taking on a new form or face - often literally. A familiar made unfamiliar... Perhaps, I wonder, is it me who has changed? Or just what is this strange new world around me?” - Nic Ives
Emerging from a period of heightened creativity and personal change, moving between studios and shifting home spaces, this new body of work from artist Nic Ives marks a rich chapter of instinctive, fluid making. Derived from details of daily life and drawn from narratives mundane and familiar, the paintings he has produced adopt a kind of poetic, magical realism to explore figures and tropes that are perhaps rooted in the subconscious. There is something speculative about them, not only in their subversion of the ‘normal’ and “perversion of the nostalgic” as the artist describes the play with painting tropes, but also in their uncanny gaze toward the audience and Ives himself. In this moment of half-realisation they seem caught between worlds and selves, suspended in the act of becoming or un-becoming. Working quickly with paint and leaving surfaces unfinished and narratives open-ended, Ives tenderly commits to this process, letting his state of being guide the work and infusing it with the poetry of the moment. The resulting works feel like intimate, curious vignettes of a bizarre domestic landscape. Though perhaps they are better described as capturing the feeling of being in-between, but not without a sense of home.
Photography by;
Annika Kafcaloudis
