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OIGÅLL PROJECTS presents Overtone, a new exhibition by Melbourne design studio GUIDA, bringing together furniture, lighting and audio objects developed around a shared consideration of time, use and longevity.
Rather than imagining an object for a fixed moment or singular set of circumstances, Overtone considers what it means to design for a life that will inevitably change. Spaces shift, habits evolve, materials age and tastes move on. Across the exhibition, change is understood not as a threat to an object’s relevance, but as something that can be anticipated within its design.
Components can be moved, removed, reconfigured, recovered or replaced, allowing each work to adapt to new environments and requirements without abandoning its original purpose. Longevity becomes not simply a question of physical durability, but an object’s capacity to remain useful, desirable and meaningful over time.
The exhibition includes Pan, a compact two-way speaker developed with Australian sound engineer Casey Hartnett; Set Desk, a castor-mounted steel work desk; Fold Lounge, formed from hand-finished folded aluminium with removable upholstery; and Signal, a machined aluminium lamp that shifts between uplight, ambient light and directional source according to its orientation. GUIDA’s modular Beautifully Basic Shelf system completes the collection.
Taken together, the works propose a quieter understanding of permanence: objects designed not to resist change, but to accommodate it.
Founded by industrial designer Thomas Guida, the Melbourne-based studio works across furniture, lighting, objects and audio, bringing together designers, fabricators and specialist collaborators through a materially driven approach to industrial design.
Rather than imagining an object for a fixed moment or singular set of circumstances, Overtone considers what it means to design for a life that will inevitably change. Spaces shift, habits evolve, materials age and tastes move on. Across the exhibition, change is understood not as a threat to an object’s relevance, but as something that can be anticipated within its design.
Components can be moved, removed, reconfigured, recovered or replaced, allowing each work to adapt to new environments and requirements without abandoning its original purpose. Longevity becomes not simply a question of physical durability, but an object’s capacity to remain useful, desirable and meaningful over time.
The exhibition includes Pan, a compact two-way speaker developed with Australian sound engineer Casey Hartnett; Set Desk, a castor-mounted steel work desk; Fold Lounge, formed from hand-finished folded aluminium with removable upholstery; and Signal, a machined aluminium lamp that shifts between uplight, ambient light and directional source according to its orientation. GUIDA’s modular Beautifully Basic Shelf system completes the collection.
Taken together, the works propose a quieter understanding of permanence: objects designed not to resist change, but to accommodate it.
Founded by industrial designer Thomas Guida, the Melbourne-based studio works across furniture, lighting, objects and audio, bringing together designers, fabricators and specialist collaborators through a materially driven approach to industrial design.
Morgan’s is a practice we have returned to with real affection, and one that has long felt very close to OIGÅLL. Following his 2026 Archibald Prize finalist Yvette, these new works continue his exploration of portraiture at the edge of recognition, while extending a much broader enquiry into how paintings exist in a world increasingly experienced through screens. Across his practice, Stokes has described this shift in perception as the “virtual gaze” the way a painting can become flattened, circulated and consumed as an image, rather than encountered as a physical object. His portraits push directly against that flattening. Working in watercolour on Belgian linen, Stokes allows pigment to bleed into the tooth of the fabric, softening the image until the figure seems to sit somewhere between apparition and material fact. The linen is not simply a support but part of the image itself; its texture, absorbency and physical presence remain visible, even as a face, flower or body begins to emerge. In earlier writing about the series, Stokes has spoken about wanting the work to exist simultaneously as something literal, abstract and illusionistic, an image that reveals itself differently depending on how, and how long, it is looked at. That tension between image and object runs through Morgan’s wider practice. He has repeatedly stripped painting back to pigment, cloth, stretcher and support, asking what remains essential when artworks are so often first encountered digitally. In that sense, these new portraits feel particularly resonant: intimate and recognisable, but never entirely resolved. They ask for time. They shift with distance. They refuse to behave quite the same way on a screen as they do in the room. |
In Three Tone Compositions, Matthew Allen continues his longstanding investigation into colour, surface and the physical presence of paint.
Each work is structured as a simple four-part composition, reducing the image to a set of closely calibrated tonal relationships. Across these repeated divisions, small shifts in colour, density and finish become increasingly pronounced. What initially appears restrained and almost architectural begins to reveal something far less fixed: colour changes with the light, surfaces deepen and flatten, and the polished graphite moves between opacity and reflection.
Allen’s paintings are built through repeated applications, glazing, polishing and reduction, allowing the surface to accumulate depth while resisting obvious gesture. His practice is less concerned with image-making than with atmosphere — with the way a painting can hold light, alter in relation to the room around it, and slowly disclose itself through looking.
The three works sit somewhere between painting and object. Their depth, modular construction and highly worked surfaces give them an almost sculptural presence, while their restraint places the emphasis firmly on colour itself: spatial, physical and quietly unstable.
Each work is structured as a simple four-part composition, reducing the image to a set of closely calibrated tonal relationships. Across these repeated divisions, small shifts in colour, density and finish become increasingly pronounced. What initially appears restrained and almost architectural begins to reveal something far less fixed: colour changes with the light, surfaces deepen and flatten, and the polished graphite moves between opacity and reflection.
Allen’s paintings are built through repeated applications, glazing, polishing and reduction, allowing the surface to accumulate depth while resisting obvious gesture. His practice is less concerned with image-making than with atmosphere — with the way a painting can hold light, alter in relation to the room around it, and slowly disclose itself through looking.
The three works sit somewhere between painting and object. Their depth, modular construction and highly worked surfaces give them an almost sculptural presence, while their restraint places the emphasis firmly on colour itself: spatial, physical and quietly unstable.
