Raised as a Jehovah’s Witness and growing up queer, Jordan Azcune’s practice is influenced by biblical theology and filtered by personal experience. Azcune uses this knowledge as a device to reveal understandings on architecture, body, and space with layered historic, and contemporary readings. Azcune is currently investigating the ideas of spirituality, offering and memory through materials of beeswax, pigment, glass and gold as interventions that take on design and architectural features that speak to a post-Christian campiness.

Jordan's first solo exhibition with the gallery is in September.

'Most of the work I do starts with drawing,' says the artist about his wide-ranging practice. The drawings are then fragmented and redrawn, and the new compositions incorporated into cyanotypes, hand-etched de-silvered mirrors, mobiles and installations. 'There's a balance between concept and formalism, and where those two meet,' explains Tom.

Tom's first solo exhibition with the gallery will be in 2022.

Selleck uses her practice to reciprocally investigate and challenge her own perceptions within a culture of conflicting truths. Her work overlays time and place to express the need for human accountability and the painful complexity of animal and environmental ethics in Australia.

Rebecca has received multiple awards and has exhibited across Australia and internationally. She was a finalist in the inaugural Ramsay Art Prize and in 2018; the Arte Laguna Prize in Venice, Italy; the Macquarie Art Prize; the Ravenswood Art Prize (Highly Commended); and the Churchie Art Prize. Her work is held at the Museum of Australian Democracy and Western Plains Cultural Centre.

Rebecca's first solo exhibition with the gallery will be in 2022.

James’ artistic practice specialises in experimental and historical photographic processes. He uses a hybrid of analogue and digital photographic techniques to create contemporary artworks that reference Australian society and history. The processes he employs are the physical manipulation of digital photographic printing, such as the manual hand-colouring of digital prints or the application of physical interventions to the surfaces of digital prints. James also uses the historical 19th century photographic process of the Becquerel daguerreotype with the aid of modern technology to create new and contemporary daguerreotypes. Photography was historically used to document Aboriginal culture and the European colonisation of Australia. James is interested in these unique photographic processes to re-contextualise the representation of Australian society and history.

James' first solo exhibition with the gallery will be in October.

Weaving documentary photography, environmental histories and speculative narratives, Kai’s process draws upon the friction between signifiers of nature and technology drawn from his formative childhood years. Through sublimating these themes of ecological crisis and its human implications, Kai’s work reckons with the similarity between technical and natural processes in our contemporary world.

Kai's first solo exhibition with the gallery is in August.