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Interlude Artists


Helen Shelley

Helen Shelley’s practice is inspired by a transcendent image that occurred the night of her father’s death. The vision of light particles emanating from her father’s body which were then subsumed by her own gave sense that despite her father’s physical demise, he continued to exist in a different form and was thus rendered immortal. Shelley’s art practice is an important ritual that brings to mind and honours her late loved ones. Her work is concerned with the way rituals symbolically immortalize late loved ones and thus ensure our relationship with the dead is vibrant and ongoing. Significantly, these tangible expressions of personal grief bring the oft-avoided topics of death and grief to the fore. Rather than being viewed bleak in nature, Shelley hopes art that deals with death and grief provide a sense of life as a continuum and opportunities for human connection.


Kai Wasikowski’s practice focuses on the ideological notion of ‘nature’ and its aestheticization within the context of the Anthropocene. Recently Wasikowski has been exploring this notion through the materiality of lenticular imagery, a medium often associated with depictions of ‘paradise’ and religious iconography. Using the optical qualities of lenticular plastic enables Wasikowski to embed 3D fields of perception within a printed  photograph or a projection of light. This technique of optical illusion is used in his work to posit the idea of ‘nature’ as perceptual experience, and to address the anxiety that accompany it’s physical degradation and  simultaneous integration with technology.


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Luke O’Connor

Luke O’Connor is a Sydney based artist working primarily in ceramic media.

Within his practice the vessel form is a key site of experimentation. While referencing the utilitarian language embedded in various histories of ceramics he presents works which are formally and functionally ambiguous. Seductive polychromatic surfaces gesture towards references to food, geological events, skin and oozing fluids. The works are process heavy, within most pieces, plaster molding, physical sculpting of the clay, and the mechanical aid of the potter’s wheel are combined. The remnants of these techniques are left visible highlighting the clear links to the physical making process. Luke graduated from Sydney college of the arts with a bachelor of visual arts (Honours, First Class)

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Julien Bowman

Julien is an emerging Sydney artist interested in painting and the history of abstract painting. His works use a wide selection of colours and patterns, working with paint, sculpture and video. His works try to navigate its place within contemporary art with the knowledge that the modernist cannon that once supported painting as a medium no longer validates its relevance in todays art world. Julien graduated Sydney College of the Arts, with a Bachelor of Visual Arts (Honours, First Class).

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There is a creature – part guy part rat part bird part lizard part gibbon – living in a cave in the back of Apolonia Dorabialski’s skull. It’s a creature of appetites and sorcery and setting things on fire. There is blood on its chin. There is a bald patch where it has nervously rubbed fur to dust. It is intelligent and sensitive, and speechless and terrified, and furious, and it does not understand. This creature has never, ever, ever forgotten a single thing. It has never thrown a single thing away. —Katy B Plummer  

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Mevna lives and works in Guadalajara, Mexico “…in Mevna’s work we can find a careful selection of hard-to-find facsimiles, images and objects from around the planet in the middle of conceptual and philosophical dialogues where all is connected and has a political weight, where there is always something evil hidden behind (the artist himself tries to be away for his own sake) …Self-taught since a child, playing with getting strange jobs, avid reader, odd collector and ranging from taking borrowed elements from the outsider art universe and from the established art world, the resultant work is like ‘life’ itself: macabre and beautiful at the same time.” -Dr Ein. (2012)

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hana hoogedeure

Hana Hoogedeure is an artist from Sydney working across Sculpture, Performance and Installation. Hoogedeure’s practice is orientated around notions of domestic ritual, childhood games and moral tales of a playful fantastical nature. Her installations draw on the emotive narratives we weave around personal spaces, and ourselves. Hoogedeure’s practice is playful and intuitive, reliant on luck and superstition in order to create large-scale, narrative-based theatrical installations.

Mónica escutia

The modern art displaced the search of a representational project now in the direction of products that were formal, material and compositive. In this new process, art was not trying to ‘reproduce’ fragments of the world, but rather, create a new one. The artwork value was now in its own materiality, in its real elements, visual, tangibles, and not in the illusions or effects that it used to produce. My work radicalise this project, highlighting the rawness of the physical elements that it compose it. For example, I make a shapeless glass fiber sphere that I cover with automotive paint, evidencing the industrial character of the pigments. The capacity of resignify these elements and move them from the automotive industry to sculpture, this make us aware of the seduction strategies from global capitalism. We live anesthetized due the inertia of operate inside a system of codify signs by the power. We have to generate objects that contain the capacity of ‘disassemble’ these linguistic structure and my work seeks for it, to dislocate the platform of these systems through shifting from those already referred. Mónica lives and works in Guadalajara, Jalisco, México.

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luke o’donnell

Luke O’Donnell, an artist from Sydney works within installation and performance. Luke completed his bva (honours) at Sydney college of the arts in Sculpture Performance and Installation. O’Donnell has exhibited at archive_, verge and interlude gallery and has been involved in a performance at art bar with hana Hoogedeure and clare Milledge . O’Donnell’s practice looks at construction and deconstruction. His work is influenced by architecture of everyday buildings and the experience of the construction worker.    

Dean Cross

DEAN CROSS is a First Nations trans-disciplinary artist.
He has been formally trained in both Contemporary Dance and Sculpture, and works across the sculptural and pictorial fields. Through this he attempts to re-evaluate and re-construct what it means to be Australian in the 21st Century, and how that fits within our globalised world. He has been involved in numerous exhibitions and prizes including Tarnanthi at The Art Gallery of South Australia (2017), The Churchie Emerging Art Prize (2016), and The Redlands Konica Minolta Art prize (2015). Dean is also on the Board of Directors of QL2 Dance, Australia’s premier youth dance company.

Dean was born and raised on Ngunnawal country, however his ancestral roots lie within the Worimi Nation.


Chris Sutevski is a printmaker interested in investigating the act and process of drawing using a systems based methodology. Sutevski aims to examine the ways in which process, seriality, authorship and materiality intersect with drawing. These concerns result in an attempt to codify, hack and disrupt the drawing process by playing on how perceived regularities, preconceptions and protocols can be hacked, shifted and written into coherent drawing systems.

These systems permit a collaboration of intuitive drawing methods with fixed processes within a system, from which he hopes to play notions of hand-made, mechanical, natural and algorithmic off each other and in turn to investigate principles common to all complex systems.



Bryden Williams (b. 1990) is a conceptually driven artist   working across the fields of sculpture, video, photography and installation. He lives and works in Sydney and is currently an MFA candidate at Sydney College of the Arts. Williams’ work is concerned with themes of decay and preservation, organic and artificial duality, the sublime in nature and technology and the containment of space, objects and time within man-made and natural environments. Williams often utilises the    form of site-specific interventions as a means of investigating the idyllic and the sublime in the Australian landscape. This sensibility observes the traces of our human presence in the natural environment, often depicting technology as an intermediate subject that both enables and obstructs natural phenomena.


Honey Long is a Sydney-based artist working within the mediums of photography, performance, installation and sculpture. Her work often utilises cultural objects and archetypes, reconfiguring them within fluid and dreamy contexts. Seeking to disturb reductive binaries, particularly the constructs of femininity and nature, she explores themes of desire, fear, fetishisation and procreation. The recurring sense of duality within her works seeks to highlight the dichotomy by which one might be both attracted to and repelled by objects and phenomena.

Kaspar Kägi

The more I draw the more things make sense, to create work that reflects tangled thoughts that I want to transform into reality is the best way I can tell a story, fix a problem or exorcise a demon. I’m a sloppy conversationalist and I think that’s why I make pictures; images can inhabit those messy spaces between words where the truth might reside. My subject matter comes to me randomly but I always keep my eye out for ideas, taking my surroundings and manifesting them, deconstructing, rebuilding, distorting and adding accidents helps me acknowledge chaos and accept it and not be consumed by it.
Laura Meza


My work is inspired by the Latin American context; what happens in the streets, in the bars, in the cities, in the ballrooms, with its people, at their desks, in their economic crisis, the daily life underlined with a sense of humor, the political and the poetic, food, gambling, leisure, self-construction
Davis Birks


  “Develop action, thought, and desires by proliferation, juxtaposition, and disjunction…” – Michel Foucault, preface to Anti-Oedipus: Capitalism and Schizophrenia, Deleuze and Guatarri, 1972

During the time my childhood friends contemplated a life as policemen, astronauts, firemen or rock stars, I had by the age of 9 decided I would dedicate my life to making art. Over the years I have gravitated towards an experimental, investigative approach to my work as have many artists of my generation who search for a way to assimilate the complexities of contemporary life. My work is a heuristic exploration that questions how we relate to each other and our environment. I develop my projects with an interest in aesthetic, social and historical relationships.

–Davis Birks, 2013  

Talitha Kennedy

Talitha Kennedy

Through process driven practice I consider the necessary destruction of things to make the new. My work is guided by an aesthetic of fecundity where creative forces are in eternal flux between the living and dying.
I work intuitively with black leather, I cut and stitch and stuff this co¬¬rporeal material to re-flesh it into organic soft sculptures. I have a vague vision of the presence of the thing that I am compelled to make then I surrender to the process to bring it into being. In a similar way, I meditatively scratch ink marks on crumpled paper, mapping out an illusory skin. Resulting sculptures, installations and drawings evoke uncanny hybrids of plant, body and landscape that hint at desire and fear of entropic nature.
There is a shadow of guilt in the things I create, a sense of penance for the will to survive that has led human culture to dominate the natural environment

–Talitha Kennedy  

Grace Blake

Grace Blake

Grace Blake creates digital spaces and scenarios that explore relationships between technology and its human users. She brings found and photographed digital imagery into modelling and editing software to create hypothetical architecture and objects. These digital worlds are either presented on-screen, or printed using commercial and industrial processes. The spaces Blake creates feel three-dimensional, as if they could be real, but they have no direct referents in real-world space or time. Blake was born in 1992 and studied fine art at the Australian National University, Canberra. She continues to live and work between Sydney and Canberra