Empty

2025

On Turrbal and Jagera land

Webb Gallery, South Bank

Sometimes emptiness is universal and sometimes it’s personal. Sometimes emptiness can be beautiful. Sometimes it can be awful. Sometimes it can be radical, or banal. Emptiness can be pathetic. It can be demoralising. Sometimes emptiness is the draining of will, of agency, of image, of emotion, of expression, of intention, of meaning, of gesture, and even of form.

Emptiness can be religious. It can be an empty tomb or a state of negation. It can be jubilant, it can be liberating. It can be contemporary. It can be nihilistic. It can be vapid. It can be passive. It can be progressive.

The artist is tasked with the filling of empty things (papers, canvases, screens, spaces, silence). Sometimes emptiness can be filled. Other times, it can’t.

Correction Tape Drawing, (pencil, pen and correction tape on vintage Japanese ledger paper) by Zuzana Kovar, flips the typical function of correction tape - a tool normally used to erase errors or negate content - and instead employs it to meticulously grid over a delicate piece of vintage paper. Despite the strict formal repetition, the piece is imbued with significant variation and inconsistency borne of lapses in concentration and exhaustion from its laborious creation.

Joint exhibition with works by Joseph Camara, Zuzana Kovar, Cassandra Louttit, Gordon Akira Macindoe, Evie Poggioli, Amelie Ryan, Sabrina Ryan, Gunung Tan.

Curated by Jonathan Kopinski and Gordon Akira Macindoe

Photography Carl Warner & Nik Strugar