Opening Wednesday 2 December 6–8pm

AFRESH, Sean Rafferty’s exhibition of recent workstakes shape as a series of text pieces on canvas, plywood and other materials. The words and images in these pieces channel the spirit of Australian fruit and vegetable cartons, of which Rafferty is a dedicated collector. Through the processes of collecting, archiving and mapping he explores the vernacular and symbolic peculiarities of fruit cartons and the places where they originate.

In making works for this exhibition, Rafferty imagined an immigrant farmer going out into the broad Australian landscape to start afresh, and being tortured by inaction in the face of seemingly innumerable possibilities. This absurdist scenario is gestured at through puns and ambiguous fruit carton-like compositions of image and text that are simultaneously hopeful and melancholic.

Sean Rafferty (b. 1979, Ireland), lives and works in Sydney. He has exhibited extensively around Australia in group and solo exhibitions. In 2014 he held his first solo show in his birthplace of Ireland, at the Roscommon Arts Centre. Rafferty has been an artist in residence at Artspace, Sydney and the Cité Internationale des Arts, Paris. He holds a Masters of Fine Arts from UNSW Art and Design.

More images coming soon!


Opening Wednesday 2 December, 6–8pm

For his second solo exhibition at the gallery, Paul Williams presents a range of ceramic sculptures and paintings that recall the suburban environment of his childhood. Drawing mostly from memory and incidental sightings in his car, Williams is alert to the strangeness and gravitas, as well as humour, to be found in the tawdry and commonplace. He looks for those things that both stand out and fall back into the suburban spread, which he describes as a kind of “nowheresville”.

More than humorously repositioning himself as artist cum backyard bricoleur, Williams finds resonance between the suburban landscape most familiar to him and the more internalised process of making art. The private kingdom of the hobbyist’s backyard resembles the artist’s own jumbled studio, where disparate material gleaned from the outside world accumulates. Williams tinkers and toils there, collaging the seemingly disconnected into meaningful resolve and transfiguring the banal into something treasured.

Paul Williams (b. 1977) lives and works in Sydney. He holds a Bachelor and Masters of Fine Arts from UNSW Art & Design, and won the UNSW University Medal in 2007. William’s has held nine solo exhibitions and exhibited widely in group exhibitions. His most recent solo show, One day, Painter, you will die, opened at the Hazelhurst Regional Gallery on 17 October. He was recipient of the Art Start Grant and New Work: Early Career grant from the Australia Council for the Arts in 2012 and 2014. In 2010, he completed a residency at the Cité Internationale des Arts, Paris. His work is in the collection of Artbank and private collections in Australia and the United States.


Sweet Relief explores the sculptural qualities of the support and frame, and the interaction of form with negative space. The delicately molded plaster works of Tarik Ahlip evoke a chalky, classical carving. Susan Buret’s modular installation of tessellated ply extends beyond the picture plane and across surfaces of the room. Daniel Hollier’s shaped canvasses blur the distinction between painting and sculpture and Jake Walker’s hand-crafted ceramic frames become inseparable from the painting contained within. In contrast, the painted forms in Jelena Telecki’s Collision and Samara Adamson-Pinczewski’s Surface Slope define the negative space of the rectangular canvas.


DAVID CAPRA: Teena’s Bathtime – Eau de Wet Dogge, 11–28 Nov 2015

Join David Capra and Teena the Dachshund for the launch of Eau De Wet Dogge. This new fragrance celebrates Teena’s infamous ritual cleanse – sometimes embraced, sometimes dreaded, depending on Teena’s mood. Moist fur, soap suds and soil unite at the base to give this fragrance a uniquely musky charm. Sour top notes of slobber and dog breath add alluring nuance. Eau De Wet Dogge is a fragrance with a difference.

Teena’s Bathtime Eau De Wet Dogge
perfume, 100ml bottle

Teena’s Bathtime Eau De Wet Dogge car refresher
embossed cardboard, perfume
$15 (edition of 150)

Free fragrance card samples will be available during the exhibition

David Capra and his sausage dog Teena in the 2015 Bella Room Commission.
Photograph: Anna Kucera

Eau de Wet Dogge 
is an extension of Teena’s Bathtime, a project commissioned by the Museum of Contemporary Art Australia for the Jackson Bella Room. In Teena’s Bathtime, Capra encourages members of the public to help give his five-year-old sausage dog a wash. Inviting physical and sensory engagement, the project is informed by Capra’s interest in animal assisted therapies. Describing himself as an ‘intercessory artist’, Capra looks at ways of prompting healing experiences for individuals and community. Capra explains “there’s a fanciful element to my work, and an accessible element. The more I think about healing, I think it entails facilitating projects that give people your undivided time. I think healing will occur in those circumstances.”

In 2013 Capra invited the public to dance alongside Teena in a throne room inspired by the 1939 film The Wizard of Oz (Workout, Museum of Contemporary Art). His work titled Birthing Things in the Spirit: The Water Birth, involved a synchronised swimming performance with locals at Eaglevale Pool and focused on making the notion of friendship tangible (Campbelltown Arts Centre, 2014). The performance piece Ministry of Handshakes (Tiny Stadiums Festival, 2013) saw Capra greeting the public with a 2 meter prosthetic arm inspired by encounters with Elizabeth, a woman who moves through Sydney trains and shakes commuter’s hands. Last year, Capra worked on a dance project with munchkin actor Betty Ann Bruno that explored his interest in munchkins, both as a fictional and real life community of actors in the classic Wizard of Oz film.

The artist would like to thank Jonathon Midgley at Damask Perfumery, Daryl Prondoso at The Distillery, Peter Johnson and the Museum of Contemporary Art Australia.






Click here to watch the video of David and Teena visiting Dawn and Lucy

Teena’s Bathtime review – one man and his dog warm the worlds heart
The Guardian, 15/06/2015 


In Scooting Obliquely Louise Tuckwell continues her distinctive exploration of the interaction of colour and form.

Tuckwell’s handling of tone through a selection of colours that vary in chromatic intensity reaches a new maturity in these recent paintings. The eye is momentarily drawn forward into purple, grey and charcoal voids, before dancing across surfaces of yellows, reds, tangerines and pale blues. Stripes feature as anchoring elements, forming areas of repetition and repose that play against contrastive diagonals. Compositional symmetry and subtle perspectival shifts suggest an abstract architectural language, revealing the influence of travel and research undertaken in Italy in April 2015. This exhibition also sees the introduction of a narrower format for Tuckwell– unusually thin rectangular paintings hang like luminous beacons, seducing the viewer with warmth and light.

Louise Tuckwell originally studied at the Julian Ashton Art School and later graduated from the National Art School. She has been exhibiting her work for over 30 years in Sydney and Brisbane and has previously shown with Tim Olsen Gallery, Utopia Gallery and Damien Minton Gallery. Scooting Obliquely is the artist’s second solo exhibition with Gallery 9. Tuckwell is widely represented in public, private and corporate collections, including MCA Australia, Artbank, City of Sydney, New England Regional Art Museum, Tamworth Art Gallery, Bathurst Regional Gallery and Allens Arthurs Robinson, Sydney.



Eloise Kirk’s new assembly of collage and sculpture in Beyond the Pale responds to a recent research trip to the French Alps and Laugavegur hiking trail in Iceland. Kirk considers the aesthetics of isolation, the relationship between nature and the object and the interconnected experiences of solitude, the voyage and the surreal. Through the use of fragmented landscapes, flat masses of colour and textural resin pools, Kirk evokes both raw environmental experience and preambles into the otherworldly. Mountains and rock formations are severed from their origins, suggesting alchemical formations, rouge continental masses and interplanetary imaginings. Kirk describes these fictionalised landscapes as ‘exercises into the elusive’.

Eloise Kirk holds a Bachelor of Visual Arts (Hons) and a Master of Visual Arts from the Sydney College of the Arts, University of Sydney. In 2015 she held her first solo show in New York at Chasm Gallery and undertook a residency at the Cité Internationale des Arts, Paris. This year also saw Kirk as a finalist in the John Fries Art Award and Macquarie Bank Emerging Artist Award.


BELEM LETT: TUNNEL VISION 23 Sept – 17 Oct 2015

Combining abstract painting with artisan frames, Belem Lett explores the relationship between gesture, recessive space and the role of the decorative border.

Through fields of colour, elongated canvases, bulbous bodies and cut out shapes, Lett situates the abstract image within a history of baroque opulence. He humorously acknowledges our desire for painting to decorate interior space and also offer us transportation beyond it. Lett’s framing devices allude to windows and portals and establish an expectation of recessive space. Variously inflected surfaces play with this expectation – gestural brushwork, metallic pigments and expanses of colour allow planes to oscillate between flatness and depth. From explorations of abstraction and the interplay of planes and surfaces comes a necessary preoccupation with the affects of light, in all its variations. Metallic pigments and gloss surfaces alter how a painting appears; from left to right, from day to night. This chameleonic quality is extended with the subtle use of luminescent powders visible only in the absence of light. In this way each work contains a secondary, silent painting within.




VIV MILLER: INNERMOSTS 23 Sept – 17 Oct 2015

Viv Miller’s paintings and drawings are characterised by an idiosyncratic use of abstract and representational approaches. Her work draws influences from a range of Western and Asian art traditions, as well as imagery from the natural world, computer graphics and cel animation.

Innermosts presents a suite of paintings that range in size and veer from the sparsely detailed to the intricately dense. They variously complement, contrast and act as reversals of each other.  These pieces reveal a new development in Miller’s practice, emboldening their hold on patterning, colour and space.  Within the work, the cave becomes a central motif, chosen for the way in which it might invite us to view the paintings as spaces of entry or enclave, but also as sites of emptiness. As Miller explains, “the paintings test out and play with layers of depth, both physically and figuratively.



Gallery 9 is excited to present a new exhibition by Louise Tuckwell at Aurora Place.

The idea of limitless combinations of colour, patterns, shapes and textures, whether simple or complex, is the starting point for Louise Tuckwell’s vibrant, non-objective paintings. Sparked by an interest in geometric patterning within the everyday, Tuckwell’s work searches for an overall system of balance and harmony– drawing on the influential algebraic and geometric work of Ancient Greek mathematician, Euclid.

Tuckwell originally studied at the Julian Ashton Art School and later graduated from the National Art School. While painting is Tuckwell’s primary practice she is also well known for her work with tapestry and is currently exhibiting as part of the 2nd Tamworth Textile Triennial which is scheduled to tour the nation. Tuckwell has been exhibiting her work for over 30 years in Sydney and Brisbane and has previously shown with Tim Olsen Gallery, Utopia Gallery and Damien Minton Gallery. She has been a finalist in the Mosman and Waverly art prizes and is widely represented in public, private and corporate collections. Tuckwell’s works are held the collections of the MCA Australia, Artbank, City of Sydney, New England Regional Art Museum, Tamworth Art Gallery, Bathurst Regional Gallery and Allens Arthur Robinson, Sydney.

View the online exhibition CATALOGUE or make an ENQUIRY


Employing humour and complex craftsmanship, the ceramic sculptures of Ramesh Mario Nithiyendran boldly address issues of ethnicity, religion, gender and sexuality. Resembling obscure objects of divinity and phallus-worship, they suggest rarefied forms borne out of a decentered and heterogeneous cultural and aesthetic landscape. In his new works for Sydney Contemporary, Nithiyendran continues to push the possibilities of his medium, presenting large and structurally intricate works that hold a variety of glazes and treatments.

Last month’s recipient of the prestigious 2015 Sidney Myer Fund Award for Ceramic Art and winner of the 2014 NSW Visual Arts Fellowship (emerging), Ramesh Mario Nithiyendran is recognized as one most exciting young artists working in the field of ceramics and sculpture in Australia today. Born in Colombo, Sri Lanka, in 1988, Nithiyendran migrated to Sydney with his family in 1989. He holds a BA (UNSW), BFA (Hons. Class 1) and a Master of Fine Arts (research) from UNSW Art & Design.

Gallery 9, Stand B04
Thursday 10 September: 11am–5pm
Friday 11 September: 11am–7pm
Saturday 12 September: 10am–6pm
Sunday 13 September: 10am–5pm

Visit the Sydney Contemporary website for tickets and more information

ENQUIRE about available works