China Heights presents 'ONSITE' by Edward Woodley, a solo exhibition of new works in painting, assemblage, and installation.

All works are based on discarded hand-painted promotional signage originally created hastily for temporary messages. These timber signs, painted in chalkboard black with repetitive neon messaging in day-glo fluorescent paints, have been cut into geometric planes and reassembled into harmonious compositions that disrupt legibility. This process becomes the framework for Woodley to paint abstracted lettering and distorted symbols in high-gloss enamel.

The colours are high contrast, and the shapes are familiar, resulting in a unified composition. The viewer reimagines each work to decipher its content, moving through mismatched but materially and chromatically paired elements.

The signs had long since expired before the artist salvaged them. Painted fast, repainted weekly, then stopped. Beneath the cut geometry and fresh enamel, older marks are still visible. A ghost of a price written by someone, glanced at by someone else. ONSITE preserves that faded exchange, not by leaving it intact, but by cutting and fixing it into something permanent.

Edward Woodley salvages discarded hand-painted promotional signs, timber boards in chalkboard black with day-glo neon messages, originally painted fast for temporary roadside notices, and cuts them into geometric planes. He reassembles these fragments into balanced compositions, overpainting distorted lettering and symbols in high-gloss enamel so the original text becomes deliberately unreadable. Beneath the fresh paint and cut geometry, older ghost marks remain visible: a faded price or quick notation, written by someone and glanced at by someone else.

ONSITE preserves that expired exchange not by leaving it intact, but by cutting and fixing the worn signs into something permanent, trapping a faint human trace inside the abstracted surface.

Beyond Nature brings together three artists who navigate the territories just left of the familiar, where landscape becomes feeling, vessel becomes story, and mark making becomes breath. Moving past picturesque notions of the natural world, this exhibition explores nature as an internalised force: memory's residue, migration's longing, and the living pulse of land and belonging. Through gestural painting, sculptural ceramics, and grounded abstraction, Rubyrose Bancroft, Ria Desiree, and Rachel Farlow each propose a nature that is felt rather than observed, a terrain of sensation, belonging, and quiet chaos. Here, the elemental is personal. The organic is emotional. And every surface holds time.

Rubyrose Bancroft
Bundjalung woman Rubyrose Bancroft is a multidisciplinary artist whose practice represents Family, Country, and Connection. Her swirling lines embody the land's breath, each mark a ripple effect of ancestral ties. Working across painting, ceramics, and claymation, she centres Indigenous kinship systems and the enduring presence of Bundjalung Country. Her visual language speaks to the energy that connects people to land through cultural practice, honouring water, ochre, and the riverbed as sites of belonging and memory.

Ria Desiree
A Filipina ceramicist and "third culture individual," Ria Desiree transforms clay through the meditative rhythm of coiling and the physicality of carving. Her sculptural vessels become storytellers, imprinting the "here and now" while touching on home, migration, and belonging. By applying hand building techniques and vibrant surface painting, she dissolves dichotomies between art and craft. The vessel's interior and exterior speak to what it means to hold memory, to travel, and to root oneself in an uncommon journey.

Rachel Farlow
Living and working in Queensland as a florist and nursery hand, Rachel Farlow creates gestural paintings where memory and desire produce an interplay of physical states. Each work is a non verbalised world, unfurling time in places that resist familiarisation. Her poured colour and atmospheric mark making echo Cy Twombly and Helen Frankenthaler, while the surface's mobility mimics quiet chaos, a dreamlike weather of internal and external reality. The viewer dives into uncontained events, a churn of emotions layered with hidden meanings, linking passages of time and place.

China Heights Gallery presents ERUPTIONS, a survey of recent paintings by Sydney based artist Alex Xerri. The show is offsite at Louis Vuitton Brisbane and brings together twenty two works made over the last four years.

Xerri’s paintings pull from an unusual set of sources. Apex predators, but photographed on clunky early 2000s silver digicams. Fiery sedans. Old video game graphics, the scratchy polygonal kind. Then there are erupting volcanoes, flowing lava, desert nights, and beige computers on fire. She funnels all of this into the studio and builds landscapes from it. The surfaces are rough, acrylic and crushed stone on canvas.

Her references include nature documentaries, car design, and early 3D gaming. She calls the results speculative biomes, places that don’t exist but feel like they could.

A recurring thread in her work is the period around the year 2000. Xerri describes that time as a mix of hangover from the past and excitement for the future. New technology appeared and became obsolete quickly. Her paintings hold onto that tension without nostalgia or irony. They treat outdated objects, silver digicams, blocky game worlds, beige computers, as material worth looking at seriously.

This is Xerri’s first Brisbane exhibition. She has shown solo in Sydney and Nottingham, and in group shows across Australia, the United States, and Europe. Her work is held in private collections internationally.

ERUPTIONS opens 22 April 2026 and runs for three months at Louis Vuitton Brisbane, presented offsite by China Heights Gallery.