Ellen Virgona is a Paris based photographer represented by China Heights. Her latest exhibition, Monument, explores the body as a living archive of time. The series presents the same figure across two photographic sessions, one in 2024 and again in 2025, capturing the subject a year apart.

These photographs are not concerned with idealised perfection. Instead they witness the body as it unfolds across moments, revealing subtle shifts in posture, softness, tension, confidence and gesture. These small changes speak to lived experience. In their form and stillness, the images recall classical sculpture, often fragmented yet still whole in presence. But unlike stone, the body is continually shaped by time, experience and emotion. The title reflects this quiet contradiction. Monuments are built to preserve memory and suggest permanence, yet the human body is constantly changing. In these images, the body becomes its own monument.

By returning to the same subject a year later, the work invites viewers to reflect on their own bodies as evolving landscapes. Each photograph marks a moment that will never exist again in exactly the same way. Monument is not about nostalgia or loss. It is about recognition, honouring the fleeting states of our physical selves and acknowledging the beauty of transformation.

China Heights Gallery, courtesy of Papunya Tjupi Arts, is pleased to present an exhibition of new works by Keanu Nelson Tjakamarra. Keanu grew up in Papunya community and began painting in 2019 as part of the art centre's Men's Art and Cultural Revival movement. He comes from a strong artistic family. His grandparents are the renowned Michael Nelson Jagamarra and Liimpi Tjampitjimpa, and his work reflects a deep engagement with the stories and techniques passed down through generations.

For this exhibition, Keanu paints stories that belong to his family line. The Yalka Tjukurrpa (Bush Onion Dreaming) comes from a powerful site near Tjunkupu, where two complex songlines meet and travel through Winparku and Papunya. In some paintings, four women look into a large opening in the earth where underground waters converge to form a central soakage, a place Keanu describes as "too powerfull, too dangerous." The Wanampi (snake) also appears throughout, serving as a warning near certain waterholes and often painted alongside a Kulata (spear). His Malu and Wanampi paintings follow the travels of kangaroo and snake through waterways, telling stories shared during ceremony that teach about hunting, water sources, and places that demand respect.

Papunya Tjupi Arts is a 100% Aboriginal owned and directed community art centre based in Papunya, birthplace of the Western Desert painting movement. Located 250 kilometres northwest of Alice Springs, the centre supports both emerging and leading contemporary painters. The artists of Papunya Tjupi carry forward the legacy of their forefathers while building their own identity, and Keanu Nelson Tjakamarra continues this tradition, bringing fresh energy to the stories he has inherited.

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YEARS OF RIVER AND OF SUN, OF SAND, THE WIND AND THE SKY selected recent paintings by Max Berry. Courtesy of China Heights Gallery  and their on-going offsite at Louis Vuitton Brisbane.

Berry, who was born in 1987 in Katherine, NT, currently lives and works in Sunshine Coast QLD he has been exhibiting his work since 2011.

Using photographs and images from film and other media, he tackles a breadth of subjects and motifs, including landscape, figures, the mythic and seemingly banal everyday objects and their environments. The resulting paintings suggest an allegorical atmosphere and posses poetic power. 

The process of finding and transforming the images is in the manner of a collector, amassing libraries of material that is not necessarily understood yet intrigues or engages. These are worked through in various stages before reaching the canvas, where he makes the final piece in oils relatively quickly and in some instances in a single session. 

The resulting pictures work together to create a place, where motifs can be symbolic, obscured or warped. this way, they express the slipperiness of representation through painting and the inherent subjective nature of experience and memories.  

Berry’s seemingly understated works combine to prompt careful contemplation.