There’s a store selling t-shirts in Monastiraki Square, just down the road from what remains of Hadrian’s Library. It’s a short walk through central Athens from the sun-baked ruins to the shopfront; from the mass of ancient columns to a mess of racks sporting tourist keychains, singlets and baseball caps. We were there on a warm afternoon. The owner was funny in a vaguely rude sort of way, and had an alcohol on his breath that we couldn’t place. I bought three t-shirts to remember the day, only to be accused of stealing as we left. Nothing came of it. 

We went through our finds later that evening—my friend showing off a simple white tee emblazoned with exaggerated Greek script in black. It was a quote attributed to Niko Kazantzakis, the much-translated Cretan writer. Whenever she wore it throughout the remainder of the trip, we’d attract smiles, stares and even laughter from the locals. It was only when we were back from our vacation that I asked a friend’s γιαγιά for the translation: “I am not changing, I am not afraid of anything, I am free.” We laughed then, too.

In Greece, παρέα refers to the company of friends; to cultivating your quality of life together. It’s a pervasive, everyday value—something you notice from the mainland to the islands, in Αθήνα, Νάουσα and Σύρος alike. In some ways it feels like the ultimate metric for “success”. Whispering kids bustle onto the local ferry while old lovers look on from the bleached chairs of a seaside café. Jostling and joke-telling and arguing and hand-holding in the sun. These scenes are unchanging. Seventies buildings fall apart in ancient cities. A woman chases after a flock of ducks for little more than her own enjoyment (and mine). It’s self-enrichment unbothered by dysfunction; proud of it, even. 

This work is made in that spirit. A small tribute to a generous ethos far removed from my typical surroundings. These are pictures of meeting points and in-between moments—sites of friendship, (missed) connection and silent contemplation. These spaces signify community even when they're empty. They approximate a kind of freedom, unafraid of anything.

Rachel Farlow ‘Walk of life, night sweat’

Natures stride overriding, ephemeral memories, a final goodbye of hurling light. A pain at night, a wither of hope and prosperity. Bright peonies, lilies that made you sneeze, an allergy that won’t leave. Days move fast, nightfall floods the house, waiting for an answer. A complete blackout appears momentarily, blue hydrangeas blooming from the garden stay still, an effervescent flutter of pigment and light, a polarising stain. Gardens continue to grow, a bulb takes shape. Echoes of memories begin to fade. A capricious hum, back and forth. Clarity and resolution, there’s no resolution to somebody’s absence.

‘Walk of life, night sweat’ translates as brief observations during the time of grief after the loss of a loved one. Still life is used as a symbolic connotation of nature and its fleeting cycles. Time and fragility lend itself as embodiments of ephemeral experiences associated with memory, a silent drama of the human experience. Murky undertones are coupled with pops of colour that toil with form and shape carried by indications of night and day, the grappling of time slipping away. In these paintings, improvisations give as a sense of vulnerability, arriving at place where mark-making acts as a memory trace. Sweeping dashes and strokes of paint across the substrates relieve the tension of the imagery transforming the negative and the positive spaces that gesture between abstraction and figuration. A constant state of becoming is sort after, holding onto something strong and then letting go. `

A nod to art history includes inspiration from a rounded mix of artists such as Cy Twombly, Gerhard Richter, Raoul De Keyser, Howard Hodgkin, Nicolas de Stael, Lois Dodd and Theodore Scott-Dabo.

Midori Goto 'NJUZU'

A water spirit…
A healer, shared through stories of Shona mythology.
A lot like a mermaid, Njuzu shares magic & healing knowledge with those deemed fit.

Njuzu can often take on the form of a beautiful woman or simply a body of water. Midori, a Sydney based artist working with ceramics uses traditional techniques passed down by her family through spiritual practices, rituals & the traditions behind Zimbabwe & it’s history of ceramics, referencing building techniques seen in Great Zimbabwe through to ceramic practices dating back to the Iron Age.

Playful representations of how Midori sees herself combined with her connection to water as a whole. “Njuzu” through ceramic forms builds ideas on the curiosity most humans feel while exploring rock pools or worlds below.

Through tentacles playing on sea creatures, krakens, and colossal squids to the repetition of tiny ball clusters, a lot like the infinity of sand, all mixed in with sensory moments of Midori’s childhood. Colours subconsciously inspired by lollies, cartoons & her own mothers work as a deaf artist, using similar palettes forever imbedded in Midori’s mind. Midori uses this playful world to wind down from our shared pressures of the world around us & her responsibilities as a mother, floating in a meditative space of repetition, routine & consistency.

Bringing Rock-pools up & above, a 360 view of the strong, yet delicate intricacies in Midori’s work, resembling similarities to sea urchins & coral, encouraging movement causing the viewer to bend, squint or change perspective/eye level for a playful yet serious body of work.

Kitty Callaghan's artistic practice is deeply rooted in exploring the complexities of memory, perception, and the ever-expanding digital landscape. Through her photography and collage work, she delves into the intricacies of how we capture, interpret, and preserve moments in time.

In her latest exhibition, in collaboration with China Heights gallery and Louis Vuitton in Brisbane, Callaghan expands upon her 'Pixel Asphyxial' series, integrating fabric photographic weavings to further enhance her exploration of these themes.

Callaghan's statement reflects on the nature of memory, likening it to a flawed yet selective recorder of our experiences. She acknowledges the power of photography to immortalize certain moments, offering a sanctuary for memories to endure beyond the limitations of our own recollection. Drawing from Susan Sontag's insights in "On Photography," she highlights the capacity of photographs to encapsulate reality and preserve the past in a tangible form.

However, she also interrogates the consequences of the exponential growth of imaging technology. With the proliferation of digital media, the line between reality and representation becomes increasingly blurred. Callaghan raises questions about the value of this endless stream of imagery and its impact on our perception of the world. As we drown in a sea of data, she prompts us to consider the implications of sacrificing meaningful input for the sake of quantity.

In her artistic process, Callaghan subverts traditional notions of photography by printing, cutting, and re-weaving her images. This act of manipulation serves as a metaphor for the subjective nature of memory and the distortions inherent in the medium itself. Through her intricate compositions, she invites viewers to reflect on the shifting boundaries between the real and the fabricated in our digital age.

Overall, Callaghan's work offers a thought-provoking commentary on the complexities of modern-day existence, inviting us to contemplate the ways in which technology shapes our perception of reality and memory.

Lucy O'Doherty's artistic practice is characterized by her captivating exploration of memory, dreams, and the interplay between reality and imagination. Working primarily in painting and drawing, O'Doherty's latest exhibition, in collaboration with China Heights gallery and Louis Vuitton in Brisbane, builds upon her acclaimed 'Technicolour Haze' series while incorporating new works inspired by her environment and personal reflections.

At the heart of O'Doherty's practice are her mesmerizing motif oil pastel drawings on paper and oil paintings on canvas. Through her meticulous blending techniques, she creates landscapes and scenes that exude a dreamlike quality, inviting viewers to lose themselves in the soft contours and harmonious colour palettes. Drawing from a diverse array of inspirations, including memories, dreams, and moments of serenity in both natural and domestic settings, O'Doherty's artworks often feature period-specific architecture, deserted restaurants, tranquil pools, and the interplay of light and shadow.

'Technicolour Haze' showcases a collection of pieces that reflect O'Doherty's eclectic sources of inspiration. Whether depicting architectural marvels from her travels to places like Ischia, Sifnos, and Sydney, or conjuring surreal landscapes from faded recollections and imaginative reveries, her paintings and drawings transport viewers to ethereal realms where reality and fantasy intertwine. Using a combination of bold strokes and subtle smudges, O'Doherty masterfully captures the essence of her subjects, infusing each composition with a sense of nostalgia and cinematic allure.

Throughout her body of work, O'Doherty maintains a dialogue with recurring motifs such as deserted suburban pools, noir-inspired dining spaces, and domestic interiors, each rendered in her distinct visual language. Her art has garnered recognition both locally and internationally, with accolades including the Brett Whiteley Travelling Art Scholarship and nominations for prestigious prizes such as the Wynne Prize and the Doug Moran National Portrait Prize. Featured in various publications and exhibitions, O'Doherty continues to captivate audiences with her evocative portrayals of memory and imagination, inviting viewers to embark on a journey through her enchanting visual narratives.