JESS MACNEIL

AVAILABLE WORKS

ARTEREAL GALLERY

ARTEREAL GALLERY 747 DARLING ST ROZELLE NSW 2039 +61 (2) 9818 7473 [email protected] WWW.ARTEREAL.COM.AU JESS MACNEIL THRESHOLD

FINALIST IN THE 2018 WOOLLAHRA SMALL SCULPTURE PRIZE

ARTEREAL GALLERY 747 DARLING ST ROZELLE NSW 2039 +61 (2) 9818 7473 [email protected] WWW.ARTEREAL.COM.AU During the lead-up to making Threshold a farcically melodramatic sequence of circumstances steamrollered my life. This onslaught brought intense experiences of pain, death, new life, risk, wonder, grief, love, extreme medical emergencies - including very near death, gruelling recovery, fear, fury, weakness, passion, compassion, vulnerability, betrayal and strength.

Even had I tried, it would be impossible for this turmoil not to imbue my work. Through my practice I have consistently conceptually grappled with how we navigate complexity and contradictions, and my work has become increasingly personal. But Threshold is the most intimate work I have made thus far.

Seventeen ‘slices’ of Perspex construct Threshold, each supporting oil paint applied in fragments, combined to create a contorted woman, her pose a consequence of a diabolical blow, or of her powerful summonsing of inner strength to reassert her push back. The images disappear and re-emerge dependent on vantage point; splintered, volatile, evasive. Acrylic sheet’s unstable light-bearing properties enact improbable refractions and reflections as further appearances and disappearances.

Threhold exploits the ability to be not only ‘both’, but ‘many’ simultaneously, with one perceived image knocked adroitly out of place by another, and another, and another, in intriguingly constructive destruction.

Threshold viscerally, aesthetically and experientially embodies both the intense fragility and humble, immense power and vigour of life force.

- Jess MacNeil, 2018

Jess MacNeil_Threshold_2018_oil on perspex_28.9 x 23 x 25.5cm_$10,000

JESS MACNEIL EXSANGUINATION 12 March – 7 April 2018

Jess MacNeil‘s recurring preoccupation is with the distillation and expression of complex inter-relationships, whether human, spatial, or of time or place. Bodies of works during the past decade cryptically titled Unfound, The shape of between, and The rate of forgetting offer insights into the artist’s focus on ephemeral concepts - mining and drawing out the elusive co-existence of presence and absence, of uncertainty and indeterminacy.

Exsanguination, or bloodletting is an extreme loss of blood: a metaphoric emptying out. MacNeil continues her skirmish with the figure, with surface texture and space, with transition and transformation, encounter and mutability, to create an elliptical visual narrative. In the way of a writer’s compilation of literary fragments, accretions of old and new elements, from before and from the moments of making, come together in the new works for Exsanguination.

In oil and water-colour on linen or hand-dyed canvas, and unusually quite small in scale for MacNeil, the seemingly disparate works nonetheless activate different elements of each other. The intimate paintings and sculpture present as related but random out-takes – to coalesce as an eclectic edit of aspects of a larger continuum of ongoing “scenes” of and from an artist’s intense subjective thinking, emotions, observations and experiences and art.

Whether working with photo-media, sculpture or painting, a filmic sensibility is integral to the images, objects and materials of Jess MacNeil’s art. Elements of transparency, fluidity, fluctuating light and scales of time, incidences of crossovers and flashbacks, all characterise aspects of the cinematic in her multi-disciplinary practice.

The potent small sculpture, Sanguine / Ex-sanguine, an ambiguous depiction of a woman, sliced and ‘leaking’ green paint, disappearing and re-appearing, reflected onto her surrounding enclosure by tricks and plays of light is pivotal for the many layers of meaning and making within the Exsanguination works. A sequence of sixteen paintings on transparent acrylic is arrayed reminiscent of slides racked in a carousel or frames in a moving-image edit. Each panel, an independent painting, is licked with daubs or drips of viscous blood-red or green oil paint. Dependent on internal and external spatial phenomena and the angle of the viewer, the artist cleverly exploits contradictions within the small sculpture. Adroitly conjuring with the ambiguities of abstraction and realism, perception of time and space, motion and stasis to simultaneously conceal and reveal a nascent human figure, redolent of both the intense fragility and immense power and vigour of the life force.

MacNeil’s paintings are vested in a range of diverse human experiences and perspectives and encounter; often devolving from incidents which have taken years or decades for the artist to unfold mixed with the now and instantaneous. Three of the paintings traverse the overlapping distortions and disorientation, psychological as well as temporal, during insomnia. Others are from an amalgam of remembering and forgetting - on both the universal level and also very personal and intimate for the artist:

‘Drought, Smog, Seep’ combines imagery of: “a profound and prolonged drought on the property I grew up on - image in this work is partially taken from a photograph taken when I was around 7 - with snapshots of London smog from the air taken only months ago, mixed and made relational to one another by the bleeding of the paint and ink below as well as the imprinting and intermixing of the daubing ...

‘Smoke Ghosts’ is traced from video footage of the piercingly, impossibly dreadful fires at Grenfell Towers - again not meant as a literal depiction of this in any way, the work describes a transmitting and receiving - however imperfectly - of that pain of others, a ghosting and an imprint which cannot be ignored and cannot not change and hurt one’s self (and nor would any feeling human wish to be immune from this), and - at least for the artist - temporally cannot but speak to other ghosts criminally lost and of which there have been so many in 2017, especially close to us in London being so close to - still part of! - Europe (an accumulation of ghosts), and for me also echoes with the September 11 towers burning, which I watched from the ground in lower Manhattan and resonates image and content wise - both images of towers burning stay burnt in the retina and cannot be rid from mind...

Australian artist Jess MacNeil is currently London based. Her works are held in public collections including the Art Gallery of , the Museum of Contemporary Art Australia and the Australia Council for the Arts as well as numerous Australian and international private collections.

Barbara Dowse Curator

Woman in Stairwell 2 2018_Oil, acrylic, watercolour and ink on canvas_35 x 30cm_$5,000

New Brute 2018_Oil on linen_35 x 30cm_$5,000

Hayward Forecourt 2017-18_acrylic, watercolour and ink on canvas_30.5 x 22.8cm_$4,000

Here. And Here. And Here. 2017-18_Oil, watercolour and ink on canvas_35.5 x 30.5cm_$5,000

Insomnia 3 2017-18_Oil, acrylic, watercolour and ink on linen _35 x 30cm_$5,000

Spiral Staircase 2017_Oil, acrylic, watercolour and enamel on linen_35.5 x 30.5cm_$5,000

Waiting, Trying to Forget (Remember to Keep Looking Up at the Sky) 2017_Oil, acrylic, watercolour and enamel on linen_35 x 30cm_$5,000

Smoke Ghosts 2018_Oil, watercolour and enamel on linen_30 x 25cm_$5,000

Drought, Smog, Seep 2017-18_Oil, watercolour and ink on canvas_22.8 x 30.5cm_$4,000

Lost and Found in Pain 2018_Oil on linen _35 x 30cm_$5,000

Insomnia 2 2017-18_Oil and resin on hand dyed canvas_25 x 20cm_$4,000

Insomnia 1 2017-18_Oil and resin on hand dyed canvas_35.5 x 30.5cm_$5,000

Elemental Transfer Shape 2017_Oil, watercolour, ink and resin on canvas_30.5 x 22.8cm_$4,000

Cherry Tate Composition

2017-18 oil and resn on hand dyed canvas

30.5 x 22.8cm

$4000

JESS MACNEIL UNFOUND APRIL 2014

At the time of writing, the search goes on for Flight MH370 that at this stage remains unfound. The resonances of absence, the search for traces, the psychological potency of the known and the not known is palpable. While not in any literal sense, Jess MacNeil’s latest exhibition is presciently tangentially and metaphorically aligned.

Her works are marked by absence and non-specific encounter, by junction and by the potent spaces between. They embody a sensibility that is poised on the brink of engagement and non-engagement. They are elusive, and cryptic, and expressed through fragmentation and angularity and focused in those parts that are ‘missing’; and predicated on a strange coexistence of presence and absence - or even the ‘presence of absence’.

Unfound continues her preoccupation with the dynamics of space and with such esoteric concepts as ’ the shape of between’; the geometry and interstices of our individual vantage points - be they physical, perceptual or psychological, and as manifested in the context of place, of time and of change. Hers is a fascination with space, its changing planes and our occupation and perspective of it; both the shared space and the space of the work of art itself.

Jess MacNeil is a London based Australian artist working in both London and . She works across media but predominantly in experimental painting, moving image, and installation. The sensibility of these principal art forms and the way they behave, the structure of their language, their "grammar", is influential and evident right through her practice, including the ‘hybrid’ works that cross over between painting and object.

Three large-scale wall-based paintings-cum-constructions anchor the exhibition; the works are a variation and development from the free-standing paintings-as-sculptures introduced in her last exhibition, ‘In between something I have’ with Gallery Barry Keldoulis in 2012

Some insights into her way of working and the context of these new works are revealed by the artist: The large paintings are 'drawn' from cumulatively constructed images of 'landscapes' close to me (and to others) as I encounter and interpret them over time. They're drawn from video footage as source. This footage is taken of different aspects of my surroundings, all shared/public spaces filled with the presence of others and, as always, their absence, or the ever intriguing combination of these that living in a crowded city presents.

Locations include Regents Canal (up the road), and the trees and greenery abutting the traffic and council estates near my studio. Paintings are then made from these drawings, incorporating both the vantage point of the camera as the footage was taken and its movement, and the motion of myself and my painting implements as I work to construct anew a space to inhabit (the space of the work) in the studio, which both refers to and transforms those earlier external encounters.

The sense of 'making sense' and also 'making nonsense' is important. Alongside absence and presence - intertwined with it - is a preoccupation with orientation and disorientation, and part of the intrigue of exploring absence comes from the disorientation that idea conjures.

The artist’s vision is complicit with her materials and her processes to define, transform and change space. In an email from London early this year the artist told of how she was immersing herself in her materials; the sharp angularity of aluminium channel, the magical alchemy of reflective and see-through plastic, it’s connection to celluloid and film, the beautiful jewel like colors of the acrylic sheet used - raspberry, violet, amber, frosted grey and clear sea-and-sky blues.

Reflection, both as the physical play of light and that of introspection and rumination, is a constant. Light, also the foundation of photography, is integral to the large paintings and to a series of five photographs mounted on jewel- toned acrylic sheet. It manifests also in the Interplay between the transparent Perspex surfaces with the light of the gallery, with the walls, and with the ambient light penetrating the space.

The photographs were all taken in Wales, in Llangollen, in wintertime. They were taken in the morning when I awoke early after arriving at where we were staying in the dark the night before and knowing little about it. A short walk along the snowy path beside the canal took me to a massive aqueduct/viaduct (apparently one of the engineering marvels of the world, I later discovered) where the rest of space - all but the narrow canal and even narrower path I was walking along - seemed to fall away into the fog. It was breathtakingly beautiful, confusing, eerie, unnerving and wonderful and, when crossing over the canal on the path, I was suspended in otherworldly timelessness and space-lessness. Eventually, the fog began to lift and the magic shifted too - did not drop away, but shifted definitely, as more was revealed of what was around me.

The photographs carry some of this feeling of dislocation from assumed reality and inability to get full bearings or orientation, emphasised by the way they are presented (including the framing with coloured acrylic, their literal orientation (sometimes tipping or upside-down, the mirroring of one image), and for me is carried in quite a sensual, bodily way. My senses and perception, for example, are effected by the feeling of impossibility to quite gauge the gap or depth of the gorge portrayed in one image, or indeed immediately quite understand it somehow, without at the same time quite being able to realise what feels odd. For me this (these, and the painting works too) opens up a rich and perplexing space to explore; the stretched elastic between understanding and confusion and our (my) suspension in it, particularly the ways we then navigate through it as we make our lives.

Simultaneity is a characteristic of Jess MacNeil’s practice. The Unfound works are formal and geometric, yet intuitive, with organic marks and traces informing a level of emotional mapping. A sense of performance is manifest: the choreography and gesture of the paint putting, the dance of light and paint, the push-me-pull-you route and cascade of the viscous accretions of oil paint; the ways of looking, the side glance, face on, glimpses, the spaces between, receding, advancing, - the invisible boundaries, real and notional.

The history and continuing quest of Jess MacNeil’s art making is imbedded in these sumptuous large summation works revealing process and the skeleton of art making.

All of the works in Unfound are marked by the orchestration and interaction of cumulative encounters; the cohesive unfolding from fragment to fragment; the jar of contradictory tangents and the quiescent potency of negative and positive spaces.

Jess MacNeil’s solo exhibitions include In between something I have, First. One. Thing. Then. Another. and The Shape of Between with Gallery Barry Keldoulis, Sydney between 2009 and 2012. On Reflection was presented by the Institute of Contemporary Arts Singapore in 2011. She has participated in numerous group exhibitions nationally and internationally, including at the Museum of Contemporary Art, Sydney (2007, 2008, 2009), the Samstag Museum of Art, Adelaide, (2008), the Tokyo Metropolitan Museum of Photography (2009), the Museum of Contemporary Art, San Diego (2009), Museum of Modern Art, (2010) and Abbot Hall Museum and Art Gallery, UK (2011).

Jess MacNeil was awarded an Anne & Gordon Samstag Scholarship in 2007, which she used to complete a Graduate Affiliate Program at the Slade School of Art, London in 2008. She won the Primavera Veolia Acquisitive Award in 2009 and was commissioned by Experimenta Media Arts to create work for the 2012 Biennial and by the Australian Centre for Contemporary Arts (ACCA), Melbourne, to create new work for NEW13 in 2013. She has travelled extensively throughout Europe, Asia, North Africa and North America, and her experience of different places and peripatetic life style continues to influence her work. Her work is held in public collections including the Museum of Contemporary Art, Sydney, Australia Council for the Arts, and the collection of the Sydney Opera House, as well as significant Australian and international private collections.

Barbara Dowse Curator, Artereal Gallery April 2014

View From The Studio (Blue Kite) 2014_oil on cast acrylic, aluminium and colourised mdf_233 x 200 x 33cm_$44,000

Installation shot: View From The Studio (Blue Kite) 2014_oil on cast acrylic, aluminium and colourised mdf_233 x 200 x 33cm_$44,000

The Familiar Strange (Grey Rhombus) 2014_oil on cast acrylic, aluminium and colourised mdf_218 x 200 x 47cm_$44,000

Installation shot: The Familiar Strange (Grey Rhombus) 2014_oil on cast acrylic, aluminium and colourised mdf_218 x 200 x 47cm_$44,000

Pont Des Arts 1b 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 8a 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 8b 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 9 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 10a 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 10b 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 10c 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 12a 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 12b 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 13 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 14b 2012_mixed media and mounted to aluminium_20 x 22.5cm_$1,800

Pont Des Arts 1a 2012_mixed media and mounted to aluminium_32 x 36cm_$2,700

Pont Des Arts 2 2012_mixed media and mounted to aluminium_32 x 36cm_$2,700

Pont Des Arts 3a 2012_mixed media and mounted to aluminium_32 x 36cm_$2,700

Pont Des Arts 3b 2012_mixed media and mounted to aluminium_32 x 36cm_$2,700

Pont Des Arts 7 2012_mixed media and mounted to aluminium_32 x 36cm_$2,700

Orange Space Painting Shoreditch 2010_oil on acrylic sheet_50 x 40 x 7cm_$8,800

Blue Shift Trafalgar Space Painting 2010_oil on acrylic sheet_40 x 33 x 7cm_$5,300

Jess MacNeil CV Lives and works in London.

Education 2007 – 2008 Graduate Affiliate Programme, Slade School of Fine Art, London 2003 – 2004 Masters of Visual Arts, Sydney College of the Arts, Sydney, Australia 1995 – 1998 Bachelor of Visual Arts, Honours, Sydney College of the Arts

Solo Exhibitions 2018 Exsanguination, Artereal Gallery, Sydney 2014 Melbourne Art Fair, with Artereal Gallery, Melbourne Unfound, Artereal Gallery, Sydney 2012 In between Something I have, Gallery Barry Keldoulis, Sydney The Swimmers, Ballarat Art Gallery, Ballarat 2011 On Reflection, Institute of Contemporary Arts, Singapore First. One. Thing. Then. Another., Gallery Barry Keldoulis, Sydney 2009 The Floating Edge, Gallery Barry Keldoulis, Sydney Aqueous Trace, Video Lounge, Australian Canter for Photography 2007 The Thaw, Gallery Barry Keldoulis, Sydney 2006 The Shape of Between, Elastic Residence, London The Shape of Between, Gallery Barry Keldoulis, Sydney 2005 Plant, Gallery Barry Keldoulis, Sydney 2004 The Rate of Forgetting, Gallery Barry Keldoulis, Sydney 2003 Tenuous Ground, Gallery Barry Keldoulis, Sydney Skin, Rocketart, Newcastle 2002 Souvenir, Gallery Wren, Surry Hills, Sydney

Selected Group Exhibitions 2019 Sydney Contemporary Art Fair, Artereal Gallery Stand, Carriageworks, Sydney 2018 Woollahra Small Sculpture Prize Finalists Exhibition, Woollahra Council Chambers, Sydney 2017 Sydney Contemporary Art Fair, Artereal Gallery Stand, Carriageworks, Sydney Art Central Hong Kong Art Fair, Artereal Gallery Stand, Central Harbourfront Hong Kong, Central Hong Kong 2016 The Other in the Self, Fünf Seen Film Festival, Video Art Programme, curated by Juschi Bannaski, Rasha Ragab, Roman Wörndl and Christoph Nicolaus, Munich, Germany 2012 All Our Relations: 18th Biennale of Sydney, Curated By Catherine de Zegher and Gerald McMaster, Various Venues, Sydney Speak to Me; 5th International Experimenta Biennial of Media Art, Curated My Abigail Moncrieff, RMIT Gallery, Melbourne and then touring until 2014 Volume One: MCA Collection, Museum of Contemporary Art, Sydney Wonderland, curated by Antoanetta Ivanova, Museum of Contemporary Art Taipei When I grow up I want to be a video artist, curated by Daniel Mudie Cunningham, Plimsoll Gallery, Centre for the Arts, Hobart Cloud Cities, Delmar Gallery, Sydney Hong Kong International Art Fair, Hong Kong Convention and Exhibition Centre Melbourne Art Fair, Royal Exhibition Building, Melbourne Where there is water…, Lake Macquarie City Art Gallery, NSW, Australia 2011 – 2012 Selectively Revealed, Aram Art Gallery, Seoul, National Taiwan Museum of Fine Arts, Taipei, Chulalongkorn University Art Space, Bangkok 2011 Selectively Revealed, Aram Art Gallery, Seoul, National Taiwan Museum of Fine Arts, Taipei, Chulalongkorn University Art Space, Bangkok Drawn From Life, Abbot Hall Art Gallery, Kendal, Cumbria. VideoRow, The Torrence Art Museum, Los Angeles Screengrab, Federation Square, Melbourne Vitrine, Curated by Joao Laia, Bond and Gardner Streets, Brighton, United Kingdom Latent Appearences and colours, Da Xiang Art Space, Taichung New Age: New Media, Central Academy of Fine Art, Beijing, and then touring Hangzhou, Jinan, Chongqing, Songzhaung, Art Yard Lhasa, Tibet, Sichuan Fine Art Academy Art Stage Singapore, Singapore Exhibition and Convention Centre, Singapore 2010 Move: The Exhibition, Gallery of Modern Art, Brisbane. On the Border of Cinema and Painting, Uplink, Tokyo. Dream Worlds, Sanlitun Village Screen, Beijing, and Xi’an Qujiang Datang Buyecheng Xinlehui Screen, Xi’an. Athens Video Art Festival, Athens. Encoded, curated by Antoanetta Ivanova, Novamedia, Art Taipei, Taipei World Trade Centre, Taipei. Hong Kong International Art Fair, Hong Kong Convention and Exhibition Centre, Hong Kong. Melbourne Art Fair, Royal Exhibition Building, Melbourne 2009 Yebisu International Festival for Art and Alternate Visions, Tokyo Metropolitan Museum of Photography, Tokyo Rising Tide, Film and Video Works from the MCA Collection, Sydney, Museum of Contemporary Art, San Diego and Museum of Contemporary Art, Sydney 2007 – 2009 Loop: New Australian Video Art, Hamilton Art Gallery, Warrnambool Art Gallery, Aarat Gallery, Horsham Regional Art Gallery, Ballarat Art Gallery, Bedigo Art Gallery, Victoria 2007 – 2008 Primavera, Museum of Contemporary Art, Sydney Primavera, Samstag Museum of Art, Adelaide 2008 Drawn from Life: Drawing Space, Green Cardamom, London Shadowplay, Lake Macquarie City Art Gallery, NSW Notations, Slade Research Centre, University College London Roving Eye, Advance, London Slade MA/MFA Degree Show, Slade School of Fine Art, London Art HK 08, Hong Kong gbk @ Melbourne Art Fair, Royal Exhibition Building, Melbourne 2007 The Year in Art, S.H. Errvin Gallery, Sydney Keep Going, Hazelhurst Regional Gallery, Sydney Freedman Foundation Awards, COFASpace, College of Fine Arts, Sydney New Acquisitions, Museum of Contemporary Art, Sydney CCB Club, Art Gallery of New South Wales, Sydney 2006 Strange Times, The Art Organisation’s Meta-Conceptual International Gallery, Liverpool, United Kingdom Fauvette Loureiro Memorial Artists Travelling Scholarship, Sydney College of the Arts Gallery, Sydney Helen Lempriere Travelling Art Scholarship, Artspace, Sydney Flaming Youth, Orange Regional Gallery, Orange Art and Football, German Bundestag, Berlin, Germany gbk @ Melbourne Art Fair, Royal Exhibition Building, Melbourne Official FIFA World Cup Art Posters, Multiple Box, Sydney Official FIFA World Cup Art Posters, Goethe Institute, Sydney Material Witness: Representations of Space, Contemporary Art Centre South Australia, Project Space, Adelaide 2005 Translation, Gallery 101, Melbourne Helen Lempriere Travelling Art Scholarship, Artspace, Sydney Freedman Foundation Awards Exhibition, Sir Herman Black Gallery, Sydney International Painting on Paper, Gallery Barry Keldoulis, Sydney Emerging Artists, Span Galleries, Melbourne 2004 Two for One Two, MOP, Sydney The Year in Art, S.H Ervin Gallery, Observatory Hill, Sydney Postgraduate Degree Show, Sydney College of the Arts, Sydney Perception, Conception, Deception, Soapbox Gallery, Brisbane Frank Saxby Bequest Exhibition, Manning Regional Gallery, NSW 2003 The Year in Art, S.H Ervin Gallery, Sydney Two for One, MOP, Sydney Avoiding the Eye Area, MOP, Sydney Julie Fragar, Jessica MacNeil, Shaan Syed, Grunt, Vancouver 2002 Surveillance, Firstdraft, Sydney Deskjob, Mori, Sydney Slacking Off, Imperial Slacks, Sydney 2001 Artcastle, The Castle, Dover Heights, Sydney Space, Tin Sheds Gallery, Sydney 2000 Magic Bullet Theory, Imperial Slacks, Sydney 1999 Post No Bills, Newspace, Sydney

Awards and Grants 2018 Winner of the Viewer's Choice Award, Woollahra Small Sculpture Prize, Sydney Finalist, Woollahra Small Sculpture Prize, Sydney 2009 Primavera Veolia Award 2007 Anne & Gordon Samstag Schoralship, University of South Australia 2006 Australia Council, New Work Grant Winner, Fauvette Loureiro Memorial Artists Travelling Scholarship Finalist, Helen Lempriere Travelling Art Scholarship 2005 Freedman Foundation Travelling Scholarship Finalist, Helen Lempriere Travelling Art Scholarship 2003 Zelda Stedman Young Artist Scholarship 2002 NSW Artists Marketing Grant, NSW Ministry for the Arts

Selected Collections The Art Gallery of New South Wales, Sydney Museum of Contemporary Art, Sydney The Australian Council for the Arts, Sydney Sydney Opera House Collection University of Art Gallery, Brisbane Hamilton Regional Gallery, Victoria Artbank, Australia Gadens Lawyers Corporate Collection, Brisbane Willoughby Partners Corporate Collection, New York Macquarie Bank Collection, Sydney