Tomas Ording-Jespersen
Bat Stack, 2025
Acrylic nails, Stud earrings and Toffee Wrapper on Synthetic Felt, dimensions variable.
Bat Stack, 2025
Acrylic nails, Stud earrings and Toffee Wrapper on Synthetic Felt, dimensions variable.
Luca Feldman
Deniliquin, 2025
Oil on Board, 59 x 39 cm.
Deniliquin, 2025
Oil on Board, 59 x 39 cm.
Luca Feldman
Ultra Economic, 2025,
Oil on Board, 59 x 39 cm.
Ultra Economic, 2025,
Oil on Board, 59 x 39 cm.
Luca Feldman
Ultra Economic, 2025,
Learning to Swim, 59 x 39 cm
Ultra Economic, 2025,
Learning to Swim, 59 x 39 cm
Tomas Ording-Jespersen
Bat Stack, 2025
acrylic nails, stud earrings and toffee wrapper on synthetic felt, dimensions variable.
Bat Stack, 2025
acrylic nails, stud earrings and toffee wrapper on synthetic felt, dimensions variable.
Bat Stack, 2025
acrylic nails, stud earrings and toffee wrapper on synthetic felt, dimensions variable.
Bat Stack, 2025
acrylic nails, stud earrings and toffee wrapper on synthetic felt, dimensions variable.
Darcy Guttridge
Icon, 2025
Oil on Canvas, 184 x 143 cm.
Icon, 2025
Oil on Canvas, 184 x 143 cm.
Into Blue, 2025
Oil on board, 59 x 59 cm.
Local Memory, 2025
Oil on Board, 59 x 39 cm.
Sydney, 2025
oil on canvas, 124 x 93cm.
Darcy Guttridge, Luca Feldman, Olivia Wood, Tomas Ording-Jespersen
Confetti, 2025
Confetti, dimensions variable.
Confetti, 2025
Confetti, dimensions variable.
Celebration
05/04/2025 — 19/04/2025
Darcy Guttridge, Luca Feldman, Olivia Wood, Tomas Ording-Jespersen
For a start, names aren’t fundamentally — and I know I'll get angry letters from branding experts on disgustingly over-designed writing paper, for saying this, but still — they're not fundamentally very important. It's amazing what you can get used to in a name. For instance, I've personally never been that crazy about the name of the Channel Four sitcom Peep Show. I mean, it's fine, but a 'peep show'; sounds a bit sexy, and taken along with the late night slot on Channel Four, the first time viewer would not be unreasonable to expect titillation, which seems to me writing a cheque with the title which the content, of constant footage of two pallid men in their thirties ageing in real time, will emphatically fail to honour. Why not follow the example of Frasier or Fawlty Towers, and call it the thing that's the main thing in it? In Peep Show's case, I suppose, Mark and Jez or The Two Men. But as I say, it doesn't really matter because as soon as you get used to a name, you stop noticing it altogether, whether it be mildly misleading, like Peep Show, or wrenchingly clunky and awful, like Have I Got News For You! or Strictly Come Dancing. Ridiculous and off-putting the first few times you heard them, but now simply the name for that thing, as unremarkable as The Six O'Clock News or Gardeners' World.
David Mitchell
2011
For a start, names aren’t fundamentally — and I know I'll get angry letters from branding experts on disgustingly over-designed writing paper, for saying this, but still — they're not fundamentally very important. It's amazing what you can get used to in a name. For instance, I've personally never been that crazy about the name of the Channel Four sitcom Peep Show. I mean, it's fine, but a 'peep show'; sounds a bit sexy, and taken along with the late night slot on Channel Four, the first time viewer would not be unreasonable to expect titillation, which seems to me writing a cheque with the title which the content, of constant footage of two pallid men in their thirties ageing in real time, will emphatically fail to honour. Why not follow the example of Frasier or Fawlty Towers, and call it the thing that's the main thing in it? In Peep Show's case, I suppose, Mark and Jez or The Two Men. But as I say, it doesn't really matter because as soon as you get used to a name, you stop noticing it altogether, whether it be mildly misleading, like Peep Show, or wrenchingly clunky and awful, like Have I Got News For You! or Strictly Come Dancing. Ridiculous and off-putting the first few times you heard them, but now simply the name for that thing, as unremarkable as The Six O'Clock News or Gardeners' World.
David Mitchell
2011
I like that you ‘Celebrate’ at a ‘Celebration’, that merely going to a ‘Celebration’ probably suffices for having ‘Celebrated’, that if I held a ‘Celebration’ and some of the ‘Celebrators’ could only ‘Celebrate’ for a brief moment I would still designate them as ‘Celebrators’ because when there is a ‘Better Celebrator’ and an ‘Average Celebrator’ there are still two ‘Celebrators’ (both options being ones that fit the bill) but it still would be helpful to know how a ‘Celebrator’ can be at the relevant ‘Celebration’ ‘Celebrating’, it would be helpful to know what else is required for a person to qualify as a ‘Celebrator’, are they celebrating when they are staring at the floor at multicoloured confetti (is that enough to be a ‘Celebrator’?), are they ‘Celebrating’ when they are looking at walls and seeing Tomas Ording-Jespersen’s three black felt sculptures that might be silhouettes in the shape of some fantastical outlined creature that is shedding itself, this openness alongside closedness being a theme reflected in Olivia Wood’s painting of four blooming flowers that float amongst white (a painting which is so close to the sign it points to that it seems to turn itself inside out) these being works which engage in a process of uncomfortably ‘Celebrating Themselves!’, which is another thing to thing to think about, the fact you can arbitrarily create a ‘Celebration’ by willing yourself to become a ‘Celebrator’ that ‘Celebrates’ yourself. ‘Peeping’ is similar to ‘Celebrating’ in that it only takes one ‘Peeper’ for there to be a ‘Peep Show’, this being proven by the previous iteration of ‘Peep Show’, which was a wandering gallery where persons turned parks and alleyways into ‘Shows’ and attendants arriving to ‘Peep’ turned what would otherwise have been just a ‘Show’ into a ‘Peep Show’, “Peep Show” now referring to a non-transient gallery where the past presence of and expected future presence of ‘Peepers’ in a certain basement of a certain house allows a certain area of space to be the necessary condition for true, proper ‘Peeping’ as occurs at the gallery where tonight you will lower yourself in the ground to look at five paintings by Luca Feldman, works which are unwilling to indulge in commitment either to the strict shape or blurred suggestion, brightly coloured landscapes that flake away to loop back round, this looking occurring in a space that once lacked the status of ‘Backyard Gallery’ in Melbourne’s so-called ‘Backyard-Gallery’ scene, the scene where proto-institutional galleries form their identity through their difference to institutional galleries, through their aspiration or lack of aspiration to be a ladder to an institution, a space of proto-‘Peeping’ where the fetishised object has become the fetishised subject, ‘Peeping’ being a thing that only ‘Peepers’ in the know know how to do, ‘Peepers’ the likes of you, ‘Peepers’ the likes of which look at Darcy Guttridge’s large tribute portrait of John Nixon (the one that depicts the man in softly smudged greys), a painting that refuses to defer to a wink, nod and tap of the ankles, a painting which instead ‘Peeps’ seriously, ‘Peeps’ openly, ‘Peeping’ as the show does, taking the apprehensive ‘Peeper’ in the light into their ‘Peep Show’ and freezing the ‘Peeper’ in place, making the ‘Peeper’ question which look came first, their ‘Peep’ or the painting’s, driving present ‘Peepers’ to take a turn around the room, their feet creating new piles of confetti as they wonder if they are ‘Peeper’ or the ‘Peeped at’, the works soon reminding the ‘Peeper’ that they should not ruminate on this for too long, it is (after all) a time to ‘Celebrate’, it is a time to ‘Celebrate’ that you’re a ‘Celebrator’!, it is a time to stop ‘Peeping’ too closely at ‘Peeping’ as it is a time to ‘Celebrate’ the ‘Peep Show’ and a time to say
Congratulations! Congratulations! Congratulations!
Reba Violet Edwards
2025