Oigall Projects

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	<title>Oigall Projects</title>
	<link>https://oigallprojects.com</link>
	<description>Oigall Projects</description>
	<pubDate>Thu, 15 Oct 2026 00:32:11 +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>ACV STUDIO 2026</title>
				
		<link>https://oigallprojects.com/ACV-STUDIO-2026</link>

		<pubDate>Thu, 15 Oct 2026 00:32:11 +0000</pubDate>

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

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		<description>
	ACV STUDIO‘Women and Fiction’Oct 22 - Nov 07
REQUEST CATALOGUE;


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	A room is never just a room, and the things in it are never only things.

For Women and Fiction, Anna&#38;nbsp;Varendorff of ACV STUDIO brings together a new body of work that sits between furniture, sculpture, experiment and domestic equipment.

Varendorff has spent more than two decades working across art, jewellery, sculpture and design. Trained as a metalsmith and later completing a Master of Fine Art at Monash University, she has exhibited in Australia and internationally since 2004, including at the Victoria and Albert Museum, Australian Centre for Contemporary Art, Salone del Mobile and the National Gallery of Victoria. In 2016 she founded ACV Studio, extending the language of her art practice into handmade functional objects and small-run design. The studio’s Glass Half Full Vase received a Wallpaper* Design Award in 2018, while her tubular metal forms have since developed into a recognisable vocabulary of their own. In 2026, that language was pushed to architectural scale through the inaugural Melbourne Art Fair × NGV Design Commission, U lights and vases, now entering the NGV collection.

Varendorff makes things that are furniture, but also experiments in form. They begin with a familiar proposition, a chair, a cabinet, a table, a light, and then move deliberately away from the shape we expect those things to take. Function remains important, but convention does not.

Metal, wood and paint recur throughout the work: ordinary materials that have been used to make household objects for generations. Varendorff is drawn to forms that feel almost rudimentary or universal; dome, a curve, a curl, a line, and asks what happens when they are made to perform a task around the house.

The resulting objects can appear disarmingly simple. That simplicity is deceptive.

A curve that looks as though it could have been drawn in seconds may take repeated prototypes, specialised machinery and several pairs of hands to realise. “My child could have thought of that” is, for Varendorff, a compliment. She likes things that retain the directness of a child’s drawing: forms that feel immediate before you begin to understand how difficult they were to make.

This is particularly true of metal. Bent, heated or placed under stress, it can crush, warp or shear in ways that cannot be undone. Much of Varendorff’s work happens at the edge of that capacity, testing how far a material can be pushed toward an imagined form before the material itself begins to argue back.

That tension places the work somewhere between industrial forming and the handmade. A machine might bend a section of pipe into a perfect curve, but that curve still has to become an object. It must be cut, welded, joined, ground, finished and handled by people, often several of them. However precise the machinery becomes, the hand remains embedded in the finished thing.

This negotiation between imagination, material and making is central to Varendorff’s practice. She does not simply impose a drawing onto matter. Each work develops through a sequence of resistance, adjustment and problem-solving, until something that first appeared almost naïve becomes technically exact.

Women and Fiction continues ideas developed through Varendorff’s recent major commission for the NGV, but brings them back to the scale of the interior. The monumental becomes domestic. The architectural becomes bodily. Forms conceived at institutional scale return to the dimensions of a room, a hand, a chair, a table, a life.

These are objects made to be lived with. They hold, support, illuminate, contain and occupy space. But usefulness is only part of what they do.

They are simple but not simple to make. Familiar but just slightly strange. Functional, playful, awkward, exact.

And, like the best household objects, they become stranger the longer you live with them.


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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>GUDIA</title>
				
		<link>https://oigallprojects.com/GUDIA</link>

		<pubDate>Mon, 21 Sep 2026 02:54:22 +0000</pubDate>

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

		<guid isPermaLink="true">https://oigallprojects.com/GUDIA</guid>

		<description>
	GUIDA“Overtone”
Oct01 - Oct18, 2026
REQUEST CATALOGUE;


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.
	
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		<title>MORGAN STOKES 2026</title>
				
		<link>https://oigallprojects.com/MORGAN-STOKES-2026</link>

		<pubDate>Wed, 23 Sep 2026 03:17:24 +0000</pubDate>

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

		<guid isPermaLink="true">https://oigallprojects.com/MORGAN-STOKES-2026</guid>

		<description>
	MORGAN STOKES‘Portraits of’Oct01 - Oct18 2026
REQUEST CATALOGUE;


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&#60;img width="2400" height="3000" width_o="2400" height_o="3000" data-src="https://freight.cargo.site/t/original/i/65de5008217939d3284543adc658a0ff9d6d7c8ee5ce497241c02691b8b62ae8/Morgan-Stokes-Portrait-of-Phthalo-Blue-Fruit-03.jpg" data-mid="252481286" border="0"  src="https://freight.cargo.site/w/1000/i/65de5008217939d3284543adc658a0ff9d6d7c8ee5ce497241c02691b8b62ae8/Morgan-Stokes-Portrait-of-Phthalo-Blue-Fruit-03.jpg" /&#62;
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a76ebcfc202c6ed955cc299ee0db101d7e7d200d12184c862cafca5a1d1e5665/ThomasGuida_install-29.jpg" data-mid="253401639" border="0"  src="https://freight.cargo.site/w/1000/i/a76ebcfc202c6ed955cc299ee0db101d7e7d200d12184c862cafca5a1d1e5665/ThomasGuida_install-29.jpg" /&#62;

	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.


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	</item>
		
		
	<item>
		<title>MATTHEW ALLEN</title>
				
		<link>https://oigallprojects.com/MATTHEW-ALLEN-2</link>

		<pubDate>Tue, 29 Sep 2026 22:54:56 +0000</pubDate>

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

		<guid isPermaLink="true">https://oigallprojects.com/MATTHEW-ALLEN-2</guid>

		<description>
	MATTHEW ALLEN“Three Tone Compositions”
Oct01 - Oct18, 2026
REQUEST CATALOGUE;


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.
	
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b2e5225186d3b7bfa747234e9d9f30cfbb9f951b64ec3537c715d4f0bc5df827/Thomas-Guida_Matthew-Allan_cordon_Catalogue-1.jpg" data-mid="252738316" border="0"  src="https://freight.cargo.site/w/1000/i/b2e5225186d3b7bfa747234e9d9f30cfbb9f951b64ec3537c715d4f0bc5df827/Thomas-Guida_Matthew-Allan_cordon_Catalogue-1.jpg" /&#62;
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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/2e4e789dd24f1548e3ecb7f18391850226a7dd1014ef8d97633b91d9686e7e9c/ThomasGuida_install-25.jpg" data-mid="253401644" border="0"  src="https://freight.cargo.site/w/1000/i/2e4e789dd24f1548e3ecb7f18391850226a7dd1014ef8d97633b91d9686e7e9c/ThomasGuida_install-25.jpg" /&#62;
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</description>
		
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	<item>
		<title>BILLY GIBNEY</title>
				
		<link>https://oigallprojects.com/BILLY-GIBNEY</link>

		<pubDate>Tue, 18 Aug 2026 01:40:19 +0000</pubDate>

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

		<guid isPermaLink="true">https://oigallprojects.com/BILLY-GIBNEY</guid>

		<description>
	BILLY GIBNEY‘Remnants’September 2026
REQUEST CATALOGUE;


&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b6bcfe09bff609860cd673ea78ac4f0673e16a1d5ca6c2c646af880a8729e6af/BillyGibney_Install.jpg" data-mid="252283173" border="0"  src="https://freight.cargo.site/w/1000/i/b6bcfe09bff609860cd673ea78ac4f0673e16a1d5ca6c2c646af880a8729e6af/BillyGibney_Install.jpg" /&#62;
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/912e33b5061d50a5f1c0e59f7a047d5c8f20f696ba06fa31aa2a1bcb1a8ff88a/BillyGibney_Install-1.jpg" data-mid="252283165" border="0"  src="https://freight.cargo.site/w/1000/i/912e33b5061d50a5f1c0e59f7a047d5c8f20f696ba06fa31aa2a1bcb1a8ff88a/BillyGibney_Install-1.jpg" /&#62;
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&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/726e70453d9c70ad9c0ce1bba9705b421d58d375234522f49bedfd8c3fd3245d/BillyGibney_Install-22.jpg" data-mid="252283172" border="0"  src="https://freight.cargo.site/w/1000/i/726e70453d9c70ad9c0ce1bba9705b421d58d375234522f49bedfd8c3fd3245d/BillyGibney_Install-22.jpg" /&#62;

	Billy Gibney’s new exhibition considers memory as something unstable: continually recalled, revised and reconstructed. The images, objects and faces we associate with particular moments can feel fixed, yet with every act of remembering they shift. Details disappear, others become exaggerated, and what remains becomes part record, part invention.

Developed over two years, this new body of work extends that instability into the physical construction of the paintings themselves. Volcanic rock, crushed glass, wax and marble dust accumulate across their surfaces, creating dense, uneven terrains that appear geological, scarred and excavated.

Fossils became an important point of reference for Gibney. As physical records of something that once existed, traces of bodies, behaviours and passages of time, they offered a way to consider how a painting might similarly preserve traces of memory. In these works, images are embedded into the stone-like surface as though partially preserved.

Faces and bodies emerge without ever fully resolving. Figures are cropped or obscured by shadow, producing the sensation of recognising something without being able to place it. Gibney is interested in this moment of almost-recognition: the way, as humans, we instinctively search for a face, and the unease that occurs when we can only partially find one. These figures become impressions, closer to the experience of trying to reconstruct someone in your mind and discovering that certain details are no longer available.

Elsewhere, heirlooms appear as recurring motifs. Long present within Gibney’s practice, these objects become vessels for the intangible things inherited between generations: memory, stories, trauma and history. Their apparent preciousness is complicated by their vulnerability. They tarnish, gather dust, acquire scratches and move from one set of hands to another, accumulating traces of the lives and events that surround them.

Gibney gathers his source imagery from an equally fragmented archive: his own photography, online auctions, old film stills, instructional manuals and historical archives. His process becomes one of excavation, interested in the moment of association when an image or object is stripped of its context and unexpectedly leads somewhere else entirely: to a person, a place, a feeling or a memory you may or may not have intended to revisit.

There is a fitting circularity to Gibney presenting this body of work at Oigåll. Before the gallery existed, before the building had a program or even a clear idea of what it might become, Billy was the first artist to place a work inside it.

Years later, he returns with an exhibition about what remains, what changes, and what we find when we return to something we thought we remembered.


</description>
		
	</item>
		
		
	<item>
		<title>PREVIOUSLY SHOWING copy</title>
				
		<link>https://oigallprojects.com/PREVIOUSLY-SHOWING-copy</link>

		<pubDate>Tue, 29 Sep 2026 22:41:22 +0000</pubDate>

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

		<guid isPermaLink="true">https://oigallprojects.com/PREVIOUSLY-SHOWING-copy</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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	<item>
		<title>PETER D COLE 2026</title>
				
		<link>https://oigallprojects.com/PETER-D-COLE-2026</link>

		<pubDate>Sat, 01 Aug 2026 00:54:44 +0000</pubDate>

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

		<guid isPermaLink="true">https://oigallprojects.com/PETER-D-COLE-2026</guid>

		<description>
	PETER D COLE“Friends in conversation”
Aug13 - Aug30, 2026
REQUEST CATALOGUE;


There are artists who spend their careers trying to make sense of the world. Peter D Cole has spent more than fifty years now quietly building one of his own.

Surrounded by his works, it quickly becomes apparent that the ordinary rules no longer apply. Lamps become sculptures. Sculptures behave like architecture. Paintings abandon the wall and wander into the centre of rooms. Trees interrupt perfect geometry. Colour somehow feels louder than colour should, and between all of this you will catch yourself smiling, though you may not be entirely sure why.

Perhaps that's because Peter has never been particularly interested in making objects as something much more ephemeral.

How does an idea exist in space?

For decades that question has quietly guided his practice. Sometimes the answer is a sculpture. Sometimes it's functional. Sometimes it's a painted construction balanced somewhere between a drawing and architectural plan. The medium has never really been the point. The conversation between them is.

This exhibition continues a line of enquiry Peter has pursued for his entire practice. One that draws equally from art history, architecture, design, structure and the physical act of making itself. The way an image is held, balanced or suspended in space is never incidental. It is the work.

Geometry has long been part of Peter's vocabulary, but never its conclusion. His precisely ordered forms are continually interrupted by something less obedient. A weathered branch. An unexpected colour. A playful gesture. Mathematical precision gives way to biomorphic intuition. Order happily makes room for chance.

That's what makes these works feel so alive.

Rather than a collection of individual objects, this exhibition feels like an ecosystem. Sculptures gather like old friends in conversation. Painted forms migrate from one work to another like recurring characters. Ideas appear, disappear and resurface in unexpected places. Every object seems to recognise the others.

What has always fascinated me about Peter's practice is that it never insists upon a single reading. There are no riddles demanding to be solved, no symbolism to decode before entry is granted. Instead, the works offer something increasingly rare: permission to remain curious.

Spend enough time with them and they begin to oscillate between sculpture, architecture, furniture, theatre, toys and monuments. Just as you've decided what one thing is, it quietly becomes something else.

Perhaps we've spent too much time asking objects to explain themselves. Is it art? Is it design?Is it sculpture?Is it furniture?

Peter has spent more than fifty years politely suggesting those are the least interesting questions wecould ask. Because perhaps the point was never deciding what these things are.

Perhaps the point is simply allowing them to be.
	
&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ae6f08392fa836fd109df34662db4d254fa0918ed92141b16178ab612d4a3c50/Peter_d_Cole_Catalogue-1.jpg" data-mid="251201239" border="0"  src="https://freight.cargo.site/w/1000/i/ae6f08392fa836fd109df34662db4d254fa0918ed92141b16178ab612d4a3c50/Peter_d_Cole_Catalogue-1.jpg" /&#62;
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