Oigall Projects

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	<title>Oigall Projects</title>
	<link>https://oigallprojects.com</link>
	<description>Oigall Projects</description>
	<pubDate>Fri, 15 May 2026 01:47:54 +0000</pubDate>
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		<title>Oigall Landing Page </title>
				
		<link>https://oigallprojects.com/Oigall-Landing-Page</link>

		<pubDate>Mon, 06 Sep 2021 04:27:40 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

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		<title>Now Showing</title>
				
		<link>https://oigallprojects.com/Now-Showing</link>

		<pubDate>Wed, 01 Sep 2021 01:51:09 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

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		<description>NOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING&#38;nbsp;NOW SHOWINGNOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWINGNOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING NOW SHOWING</description>
		
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		<title>SIDNEY NOLAN</title>
				
		<link>https://oigallprojects.com/SIDNEY-NOLAN</link>

		<pubDate>Mon, 04 May 2026 22:58:50 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

		<guid isPermaLink="true">https://oigallprojects.com/SIDNEY-NOLAN</guid>

		<description>
	SIDNEY NOLANMAY 28 &#38;nbsp;- &#38;nbsp;JUN 14, 2026
REQUEST CATALOGUE;


	ABSTRACT WORKS 1986
Exhibition&#38;nbsp;
	
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All images © Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2026


	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.


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		<title>COMING SOON</title>
				
		<link>https://oigallprojects.com/COMING-SOON-1</link>

		<pubDate>Fri, 20 Mar 2026 00:46:08 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

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		<description>COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;</description>
		
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		<title>COMING SOON</title>
				
		<link>https://oigallprojects.com/COMING-SOON</link>

		<pubDate>Mon, 06 Sep 2021 06:50:55 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

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		<description>COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;COMING SOON &#38;nbsp;</description>
		
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		<title>ROB DAVIDOV</title>
				
		<link>https://oigallprojects.com/ROB-DAVIDOV</link>

		<pubDate>Fri, 15 May 2026 01:47:54 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

		<guid isPermaLink="true">https://oigallprojects.com/ROB-DAVIDOV</guid>

		<description>
	ROBERT DAVIDOV&#38;nbsp;JUL 02 - JUL 19, 2026
REQUEST CATALOGUE;


	“Small Acts of Permanence,”

Exhibition
	

Robert’s ceramic works begin with mass, not as measurement, but as sensation.
They are not composed so much as accumulated: pressed, stacked, negotiated into being. Each piece carries a quiet gravity, as if it has settled into itself rather than been arranged. Less constructed object, more form that has arrived.

Clay is not neutral here. It resists, records, remembers. It splits, bows, occasionally fails. These moments aren’t corrected they define the work. Edges soften, slabs tear, surfaces are refined and then disturbed again. What emerges is a continuous negotiation between hand, material, and process, a balance between control and collapse.

The forms are deliberately blunt. Reduced. Gesture is stripped back rather than layered on. The work sits between restraint and rubble, presence and disappearance, testing how far an object can be pushed before it loses its ability to hold itself. Structurally, visually, spatially.

Ultramarine glaze moves accordingly. On smooth planes it settles into a dense, glass-like blue; at edges it thins, retreats, exposing what sits beneath. It doesn’t conceal the object it reads it, heightening the tension between refinement and rawness.

The works operate as a language rather than a set of singular objects. Forms repeat, shift, compress, collapse. They suggest vessels, markers, fragments of structure, but never fully resolve. Instead, they sit between object and architecture, use and memory. Like small-scale ruins, or something familiar half-remembered.

They aim to feel both ancient and contemporary, not through reference, but through reduction. Base, wall, opening, enclosure. Gestures close to the origin of making. These works don’t chase novelty; they search for something constant. Something rediscovered rather than invented.

Ultimately, they are studies in mass, aperture, and equilibrium objects poised between making and remembering.

Works that feel as though they’ve always existed only now uncovered.
	
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		<title>PREVIOUSLY SHOWING</title>
				
		<link>https://oigallprojects.com/PREVIOUSLY-SHOWING</link>

		<pubDate>Thu, 09 Sep 2021 01:34:25 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

		<guid isPermaLink="true">https://oigallprojects.com/PREVIOUSLY-SHOWING</guid>

		<description>PREVIOUSLY SHOWING &#38;nbsp;PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING PREVIOUSLY SHOWING&#38;nbsp;PREVIOUSLY SHOWING PREVIOUSLY SHOWING&#38;nbsp;</description>
		
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		<title>ADAM CORNISH</title>
				
		<link>https://oigallprojects.com/ADAM-CORNISH</link>

		<pubDate>Thu, 19 Mar 2026 23:12:08 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

		<guid isPermaLink="true">https://oigallprojects.com/ADAM-CORNISH</guid>

		<description>
	ADAM CORNISHAPR 30 - MAY 23, 2026
REQUEST CATALOGUE;


	“DOMESTIC EXPERIMENTS”

Exhibition
	

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	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.
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		<title>AMI MORRIS</title>
				
		<link>https://oigallprojects.com/AMI-MORRIS</link>

		<pubDate>Thu, 19 Mar 2026 22:44:46 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

		<guid isPermaLink="true">https://oigallprojects.com/AMI-MORRIS</guid>

		<description>
	AMI MORRISAPR 9 &#38;nbsp;- &#38;nbsp;APR 26, 2026
REQUEST CATALOGUE;


	CURRENTLY UNTITLED
Exhibition&#38;nbsp;
	Ami Morris (b. 1990, Naarm/Melbourne) was the first artist to ever present a body of work at OIGÅLL, back in 2021, when the paint was still peeling off the walls and we were pretending to know what we were doing (we are still pretending that). 
Several years on, she returns. Older, wiser, and with a new body of work that feels all the more assured for it.
Morris’ large-scale works unfold slowly, built up over months in the studio through a process of accumulation, erasure, and quiet persistence. Fields of colour are scumbled, scraped, and reworked, holding traces of their own making: oil pastel crumbs, cotton fibres, fragments of the studio itself embedded into the surface like evidence.
There is a kind of tension in them, between control and collapse, gesture and restraint. They nod, perhaps, to the long tail of abstraction, but refuse to sit comfortably within it. Instead, they feel closer to something lived-in. Bruised, smeared, delicate, and unexpectedly lyrical.
For her return to OIGÅLL, Morris presents a new body of work that feels both expanded and distilled.
The exhibition centres on four large-scale paintings, developed using a hard wax medium, an approach she has, by her own admission, become completely consumed by. The surfaces are denser, slower, more deliberate. Built through layers that hold and resist, rather than dissolve.
These works are darker in tone, but not heavy. Not morose. Instead, they carry a kind of quiet authority, a maturity that feels self-assured rather than resolved. The paintings buzz at a lower frequency: atmospheric, immersive.
There is a sense of calm running through them, as though they are tuned to something just beyond the studio. A broader creative field. A shared, if intangible, energy.
Alongside the paintings, Morris introduces two large-scale sculptural works, totemic forms constructed from concrete, cardboard, and found ephemera. They feel at once provisional and permanent. As though assembled quickly, but destined to stay.
Together, the works mark a shift in her practice. Not a departure, but an opening, into material, into space, into something slightly stranger.To have her back feels both fitting and surreal. A return, but not a repeat.


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	<item>
		<title>CORDON VOL2. </title>
				
		<link>https://oigallprojects.com/CORDON-VOL2</link>

		<pubDate>Fri, 20 Mar 2026 00:37:37 +0000</pubDate>

		<dc:creator>Oigall Projects</dc:creator>

		<guid isPermaLink="true">https://oigallprojects.com/CORDON-VOL2</guid>

		<description>
	CORDON SALONAPR 9 &#38;nbsp;- &#38;nbsp;APR 26, 2026
REQUEST CATALOGUE;


	GARNITURE VOL. 2
Exhibition&#38;nbsp;
	
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Cordon Salon’s Garniture began with armour.

Not the mythology of knights and heroics, but the intelligence embedded in the objects themselves: folded steel, articulated plates, edges curled like fabric but fixed into permanence.

Through close study of late Western European armour, designer Ella Saddington began isolating the gestures that make these objects work, how plates meet, how edges stiffen and flare, how surfaces catch and deflect light.

In Garniture, those gestures are removed from the body and placed into the room.

What once protected now illuminates.

For this second series, the vocabulary expands. A chandelier introduces a more assertive spatial presence, while new lamps experiment with leather, strange, glossy skins set against the cold precision of steel. The materials begin to behave almost like armour and flesh: rigid and supple, held in quiet negotiation.

The objects remain controlled, even restrained. Curved plates overlap. Edges ripple. Surfaces return the room back to itself.

Garniture is not historical reconstruction. It is a translation, a contemporary language built from techniques once belonging to armourers, now redirected toward light.


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