01. Tina Mu, schrödinger's cat explained (2026), 40x30cm, acrylic on canvas, $500
An attempt at depicting contradictory states of mind... Like feeling bad for myself and thinking it's funny simultaneously. Inspired by David Dees.
02. Tina Mu, eeeeee (2025), 40x30cm, acrylic on canvas, NFS
Images and symbols that came to me as I thought about the person I painted this for... I need to distill my experiences into icons. A simulacra of our relationship...
03. Soph Aire, SCRIPTS (2026), 60:00minutes approx., performance documentation, paper scroll, calligraphy ink, NFS
SCRIPTS is a durational performance where source code of a program is transcribed on paper through copperplate calligraphy — alluding to the way that colonial structures, systems, and laws were once given power through this form of writing (in treaties, agreements, etc.), and in the present day, techno-colonialism is further perpetuated through code (where "script" is a term for a set of programming instructions).
04. Nathan Murphy, BITE (2024), 76x76cm, oil on canvas, $2500
BITE is a twist on The Fall from the biblical story of Genesis. BITE in many ways represents a frustration with knowledge, and an anger towards the loss of a simpler time. The work aims to depict the events of The Fall as they are happening, through the lens of a third party.
05. Jyoucyo, tutorial (2023), 65x130cm, giclée print on canvas, $2700
06. Simon De Mayo, Fuck you x 3 (2025), 42x32cm each, acrylic on primed canvas, NFS
Fuck you x 3 highlights the cultural clash that we interact with within our digital worlds, as nature montages become memes and internet garbage starts to become surreally beautiful and representative of its time.
07. Harrison Rae, Palantir Capture at your local Coles (2026), 35x40cm, gel medium transfer on board, $250
'Palantir Capture at your local Coles' uses found surveillance footage of a man stealing lamb at Coles to highlight the supermarkets partnership with Palantir Technologies.
08. Kelsey Woods, Reality Check! (2025), 5.5x12cm, interactive mobile application via QR code, NFS
Reality Check! is an interactive installation which presents a QR code on a screen, linking a viewer to access a web-based application on their personal device. Drawing on the aesthetics of gamified dating apps the work subverts conventional gallery display by situating this experience within the pseudo private space of the smartphone. As a viewer chats with, ‘Date’, a personified AI bot, the work reveals manipulative biases and reductive training patterns embedded within contemporary large language models.
09. Nell Trotter, [un]real spaces: a virtual guide to finding yourself on the internet (2025), 10:17minutes, single-channel digital video, colour, sound, NFS
[un]real spaces: a virtual guide to finding yourself on the internet is an attempt by researchers from ‘the internet’ at demonstrating how to navigate the digital realm and how to distinguish the real from the unreal.
10. Jyoucyo, Birthday cake island (2025), 30x39.5cm, giclée print on canvas, $650
"自分の誕生日に作ったケーキをスキャンした3Dモデルを島に見立てて、
上から絵を描いています。
タイトルは死の島のオマージュで、ちょうど自分の誕生日付近に描いた絵です。
生まれることや、死ぬことについて考えていましたが、
嬉しさ、悲しさ、どちらでもない、中間の温度感にしたかったです。"
"I’ve treated a 3D model—scanned from a cake I made for my birthday—as an island,
and I’m painting on it from above.
The title is an homage to ‘Isle of the Dead’, and I painted this just around the time of my birthday.
I was thinking about being born and dying,
but I wanted to capture a sense of warmth that lies somewhere in between—neither joy nor sorrow."
11. Jyoucyo, Reflection (2025), 28x50cm, giclée print on canvas, $780
キャラクターへの自己投影を自分自身の"反射光"として、
自分ではない何かだが、鏡のようなものとして描いた作品です。
"This work depicts the self-projection onto the character as a “reflection” of myself—
something that is not me, yet serves as a kind of mirror."
12. Jyoucyo, alone with * (2025), 31x50cm, giclée print on canvas, $650
13. Adam Roguski, Tech immortality (2026), 20x20cm, mixed media, digital art, $300
A motherboard-sized window of the ones controlling us.
14. Neve Sellers, ‘Everywhere but Here’ (2024/2026), 17x27x4cm, acrylic on sheets of acrylic ‘glass’, NFS
This work depicts the unnatural and impersonal nature of sudden loss through the lens of digital manipulation. Death that comes without warning can often result in a dissonance where the person’s absence feels merely superficial; this is true of my brother who was taken in a very sudden and silent way before his 22nd birthday. With no real understanding as to the cause of death or the events leading up to it, loss is experienced more as a malfunction of reality than something which really happened, as if the deceased had just been discreetly edited out of existence, hence his depiction as a cavity in an old photo from the day I was born. The convention of the standard ‘transparent grid’ to represent empty space can also extend to the identity of an individual post-death. The shape carved into the foreground is essentially ‘nothing’ and yet at the same time there is an outline which still indicates an object in its own right. Empty space is the necessary component which allows for any material object to exist independently, and so I appreciate the perspective that we all emerge from it, live through it and eventually return back to it. Although he is not in the picture, he is still a component of it through the space he leaves.
15. Luke Westwood, BGH; 2018-07-12; III ZR 183/17 (2000-2026), 21x29.7cm, ink on cardstock, NFS
Following the unresolved death of a daughter in 2012, a grieving mother sought answers in her digital diary.
Unceremoniously, access was denied to the family on privacy grounds.
The subsequent years were marred by frivolous FAANG defences in judicature, which definitively fell on the 12th of July, 2018.
A new fold of inheritance is established by Lady Justice.
The included artwork intends to apprise readers of the right to posthumous trust and control.
* Any identifying information has been removed from QR code and access key, by way of cypher.
16. Luke Westwood, when you touch a man’s heart he’ll remember it forever (2026), 18x3.5cm, gloss on acrylic, $308
Resonance occurs when the top of the lollipops niPPle is subjected to an external force, a nobody to love x scappa blend, whose frequency matches a resonant frequency in the users ( 🍭) system; one that generates a maximum amplitude response within them. When this happens, the user absorbs the energy from the external force and starts vibrating with a larger amplitude. In some cases, resonance can be detrimental, leading to excessive vibrations or structural failure.
17. Elouera, body double (2026), 21x29.7cm, transparent print on acrylic, $333
*Lyric design by Luke Westwood. Print by Jack Simmons.
18. Cormac Bozzetto, original sin (2026), 61 x 92cm, acrylic - airbrush, $600
apple and its consequences.
19. Lincoln Black, Cyberian Elegy (2025), 07:33 minutes, single-channel digital video, colour, sound, NFS
Cyberian Elegy was about thinking about archaeogaming and the notion that a digital world can be seen as an archaeological area. This piece investigates questions about real-world archaeological sites and digital ones. Exploring the abandoned spaces of the 1995 virtual world simulator Active Worlds, the video becomes a twofold experiment. One way to compare the virtual worlds within as past civilisations, much like how we view the city of Rome as a precursor to modern cities, we can apply this here, as better digital spaces exist in modern software like Second Life or VRchat. Henchforce, to continue the digital/real parallel, the sites of Active Worlds must be treated as how we would view past civilizations, therefore we must see and feel the lost and loneliness that lingers in a ruin that never decays.
20. Nathan Murphy, Rashes (Crawl Beneath Your Skin) (2025), 76x76cm, oil on canvas, $2500
Rashes is a reflection upon a moment of silence among periods of darkness. The image displays The Fisherman alone, resting on a mattress. Below is a kingdom covered by a raging fire held between it’s walls. The flames reach above scorching the mattress from underneath. A roaring ocean isolates it all.
21. Nadja Riedwyl, Reclining male scan I (2025-2026), 40 x 50 cm, oil painting, $150
My work explores ‘reconfiguring’ the reclining male by integrating PolyCam 3D scanning with oil painting, moving away from conventional depictions of the reclining nude found in art history. The aim is to present new viewpoints and perspectives of the body, its vulnerability and fragments, centred on a technologically enhanced female gaze directed at the male subject, purposefully manipulating reality by deliberately introducing with glitches and distortions the uncontrollable.
22. Marley Colborne, chance rests on the moon (2025), 65x62cm, digital print to canvas, hemp cord, eucalyptus, $450
chance rests on the moon may take longer to digest. Deliberately dark with a flash of green, my assemblage uses similar layering however now the figure is laying on their stomach rolling dice. Representing how humans rely on chance and forget to look to celestial movements. Similarly, the post examination of dreams can be read in many ways and what we conquer up has a multitude of meaning. The figure looking down as opposed to looking up, is in reference to the way we are constantly looking down towards our devices.
I’m interested in how when we document and research a place, anthropology and conspiracies, it now sits within a digital realm, and the real-life experience becomes surreal. Growing with internet and devices becoming more advanced has changed the way in which memories are pieced together. My parents took lots of photos and video on film which is now replaced by phones. We rarely print our photographs anymore and can be found on a cloud connected to the “cloud”. It leaves many questions as to how we now process digi-info and how it is affecting us to the core.
Dreams and memories relating to cloud stored information.
23. Marley Colborne, summer solstice daydreamer (2025), 70x65cm, digital print to canvas, hemp cord, earthenware, watercolour, eucalyptus, $500
Sitting in corn fields that have been adorned with large scale artworks and walking around mysterious neolithic ancient stones were part of my childhood. They have been etched into my memory and most likely been embellished. As we piece together our lives through memories and dreams, we often rely on the physical place or photos to remind us of these times. With the digiworld at our fingertips this experience has become blended. Likening memories and dreams of a place, to information stored in the “cloud”, summer solstice daydreamer and chance rest on the moon are a physical manifestation of my specific experiences. The images represent both the viewer and their memories in one space, layering colour, maps and the being. Using assemblage of
photographic textures, drawing and blending layers, the result is reflection of the good times. The framing of the work, using eucalyptus, hemp cord and clay, is a nod to the physical world and specifically two places, so called Australia and Britain, which in my travels have been the most consistent places.
The orange in summer solstice daydreamer literally represents the setting sun as a distinct memory sitting in crop circles and on the henge of Avebury, Wiltshire, with my brother and dad. As the figure is laying, head resting on arm, I remember thinking what these places would look like from the sky, hence the overlayed map.
24. Lesley L, we are increasingly datafied (2026), dimensions variable, multi-channel interactive video, camera, NFS
We are increasingly datafied. Reduced to pixels and fed to controlling algorithms. Surveillance is centralised and privatised. We are networked unbeings. Can we trick the model? When does it stop recognising us? By exploiting its inaccuracies, can we find resistance? These small infringements on our lives begin slowly, then all at once. This is an invitation then, to notice, to educate, to become more real, and to be ready for a future that is already here.
25. Luke Westwood, 063 (2026), 152x91cm, ink on tricot, $360
A player atrophies after an aromatic antiphon from a pheasant’s eye.
Invert the cardinal points.
26. Luke Westwood, E2EE (2026), 18x26cm, digital frame, NFS
As a datafied subject of this reflection exercise, you retain the right to Australian Privacy Principles.
A swathe of banal images will be harvested.
*Images uploaded may appear in future projects.