ADAM CORNISH
APR 30 - MAY 23, 2026

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“MDW 2026 PRESENTATION”
Exhibition

Adam Cornish is, in many ways, the archetypal industrial designer. The real kind. The kind that understands how things are made, how they work, and why they endure.

Based in Melbourne, his practice has long been defined by clarity and restraint, objects resolved through process, material, and a quiet obsession with getting things exactly right. His work spans furniture, lighting and product design, developed through research and a belief that objects should find their most natural expression over time.

Over the years, this approach has produced a catalogue of pieces that feel almost inevitable, clean, intelligent, and deeply considered.

But recently, something has shifted.

In what feels like a second phase of his practice, Cornish has begun to loosen the grip. Letting things get a little stranger. A little less resolved. Allowing experimentation, material play, and a degree of mess to enter the studio, if only to keep himself interested.

The result is work that still carries his signature rigour, but with a new kind of energy. Less polite. More curious. Occasionally unpredictable.

For Melbourne Design Week, OIGÅLL presents this evolving side of Cornish’s practice, where a designer known for refinement starts to test the edges of his own language.

SIDNEY NOLAN
MAY 28  -  JUN 14, 2026

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ABSTRACTS 1986
Exhibition 

OIGÅLL PROJECTS presents a focused exhibition of abstract works on paper by Sidney Nolan, produced in 1986 during a late, experimental phase of the artist’s practice.

Departing from the iconography that has come to define his legacy, these works return to a more fundamental impulse: abstraction as a site of testing. Executed in spray enamel, pigment is atomised and dispersed into the air, settling in layered veils—colour suspended, colliding, and resolving beyond full control.

Forms emerge and withdraw. Edges dissolve. The compositions hold a sustained tension between precision and contingency, between intention and the behaviour of the material itself.

Rather than peripheral, this body of work occupies a critical position within Nolan’s practice—where experimentation is not relinquished with maturity, but sharpened by it.

Presented as a cohesive group, the works feel both historically anchored and unexpectedly current in sensibility.

In parallel, OIGÅLL PROJECTS invites BMDO to produce a series of objects in response.

Expanding on their material led practice, BMDO introduces new upholstery and soft material elements alongside vitreous enamel—glass fused to steel through intense heat. This shift extends Nolan’s enquiry into material transformation across both rigid and pliant states.

Where Nolan’s pigment is airborne, BMDO’s material is subjected to pressure, heat, and gravity. Enamel liquefies and bonds; textiles absorb, resist, and hold form. Surfaces bleed, compress, fracture, and settle, each outcome shaped through calibrated instability.

These works do not illustrate Nolan. They operate in parallel, translating a shared logic of dispersion, layering, and chance into three-dimensional form.

The exhibition draws a line between practices separated by discipline but aligned in method: a commitment to material intelligence, and a willingness to let process exceed intention.