Ideation features the works of Anastazia Bobis, Zephyr Larkin, and Rachel Rutt, each exploring themes of unrestricted form and the solitude of making. Bobis’s multimedia pieces reflect her fascination with identity and memory, capturing moments of human connection while navigating the tension between observation and empathy. Larkin’s Lino-cut prints transport viewers to surreal realms, revealing how personal values evolve through creativity. Meanwhile, Rutt’s textile weavings emulate pathways of migration, addressing themes of alienation and belonging through organic materials.

Anastazia Bobis

"My work is a reflection of the way I process and respond to the world around me. I am deeply intrigued by human psychology and identity, particularly how experiences, habits, and clothing shape the characters we project. This curiosity drives my creative process, allowing me to peel back the layers of persona we construct in everyday life.

I often navigate cycles of intense emotional and creative highs and lows, with the studio serving as my sanctuary—a place where I can distill my experiences into something tangible. Recently, a significant life event shifted the focus of my work, positioning me as a silent observer. In a world increasingly diminished by surveillance and online exposure, I document people with a deep respect for their personal space. Whether capturing them during mundane moments or recalling encounters from memory I explore the tension between voyeurism and observation.

My practice examines how human behaviour, clothing, and routines contribute to identity, adding layers of complexity to the everyday. By navigating the boundaries between observation and intrusion, my work honours the beauty of isolation and connection, reflecting the intricate realities of contemporary life."

Anastazia Bobis a multimedia artist based in Paris, born in Canberra, Australia, to Polish parents. She attended a French immersion school, where her artistic journey began at the age of four, nurtured by her mother’s encouragement to draw. After graduating with a Bachelor of Fine Arts in Painting from the National Art School (NAS) in Sydney, Anastazia’s work evolved into an exploration of identity, memory, and the solitude within the human spirit.

Through various mediums, she documents human encounters primarily in painting and sculpture. Her work oscillates between harmony and chaos, mirroring the fluctuations of human emotion, and reveals the intricate layers that shape our perceptions of ourselves and the world.

Zephyr Larkin

Zephyr Larkin Artist statement: "Value is an individual experience. 'Previous Ghost' is the culmination of personal values and the ongoing relationship to them. Music, technology, patience, dreams and people. 'Previous Ghost' is a reminder that what holds value is not static for any individual, it is an uncertain existence that needs context. Some value is found because it is not often experienced, other value is defined by recurring experiences. This body of work presents a renewed viewpoint, integrating familiar routines with evolving values.'

The works were made by Zephyr Larkin over 2 years between an Enjay etching press and an Eickhoff letter press.

Rachel Rutt

Rachel Rutt’s (b.1990) work observes humanity’s instinct for the nomadic and migratory, polarised against outcomes of alienation and isolation borne innate tocthe experience of Diaspora. Assimilation and adaptation, strained by the necessity of refuge, unearth a hunger for existence exceeding mere survival. Can the process of evolution redefine belonging? Does the landscape transform in response? This catalyst is the subject of Rutt’s curiosity.

Comprised of woven mediums, whose warp and weft are manipulated to emulate the pathways of physical migration, the interplay of colliding worlds, chance, harmony, and adaptive reaction, Rutt’s work pays homage to both personal and shared experiences of Diaspora through the universal mechanism of weaving.
Silken transparencies provoke memories and interpret history, conveying rhythm persistent in spite of chaos.
Rutt was born in Hong Kong and grew up in Taiwan and Japan before immigrating to Australia in 2005. In 2013 and 2014 she studied hand weaving at the Hand Weaver’s and Spinners Guild of NSW and has since practiced as an emerging artist.

The casual foundations of beach culture and beachwear are intrinsically recognisable to those who have spent time anywhere near the Australian coast. Chanel, selfie sticks, and illuminated screens are rarely our frames of reference. Shot on location at one of the world’s most iconic beaches, Banjo McLachlan’s new book, 31 Beach Looks, reads like an alternative manifesto for the beach experience.

Young tourists, ageing locals, Speedo-clad amateur action photographers, passersby – no one escapes the Sydney-based photographer’s humorous, hyper-observant gaze. Disappearing into the crowd and shooting in the pressure of the moment, Banjo gains intimate access to his subjects, even if fleeting. On spending time with this series, it comes as little surprise that the now editorial and documentary photographer’s early career was spent as a paparazzo in the US, shooting some of the world’s biggest stars. Back on the beach, key themes and details emerge amidst the tight framing and emphatic zooms. Luxury accessories, faded tattoos, perfectly lacquered nails, and idiosyncratic beach fashion choices punctuate this playful series. But perhaps the most resonant motif is that of the camera and the screen itself. For all the beachgoers’ enthusiasm for their locale, they seem one step removed. In the vast majority of these 31 Beach Looks, we observe the subject experiencing the beach through the mediated space of the smartphone screen. We look at them through Banjo’s lens, while they look at the beach through their own.

But rather than tending to some cultural or technological critique, these images feel lively, playful, even democratising. There is no singular way to experience the Australian beach. It is a reflection of us all.

Banjo McLachlan (b.1987, Sydney) is an editorial, fashion, and documentary photographer based on Sydney’s Northern Beaches. After leaving school at sixteen to train as a photographer, he began working as a paparazzi while still in his teens, shooting some of the world’s biggest stars in Australia and the US, including his first ever assignment – to photograph Paris Hilton and her then little-known assistant Kim Kardashian. He later moved New York for the best part of a decade, where he began to develop his art, editorial, and documentary practice. He has self-published multiple books, and he has held three solo exhibitions, including Big Deal (2019) at Monster Children Gallery in New York. The launch of 31 Beach Looks coincides with an exhibition of the same name at China Heights Gallery in Sydney, in October 2024.    

China Heights presents an exhibition of new and revisited artworks by Edward Woodley in partnership with Louis Vuitton at their Brisbane flagship location.

'Cherish' offers an overview of Woodley’s works from 2018 to 2024. The exhibition explores his use of signage and typography, employing various mechanical processes to create high-gloss text on salvaged metallic and machined sheeting. This process, which involves distorting the material, reveals its inherent vitality and transforms rigid surfaces into dynamic symbols of light.

Woodley’s work is also inspired by disruptive pattern material, pre-war Bauhaus design, and punk aesthetics. By repurposing salvaged materials, he explores the interplay between materiality and artistic expression. His approach synthesizes signage, typography, and functional objects to delve into themes of transformation and the reconfiguration of visual language.

In his recent series, Woodley combines ideological symbols with brand logos and icons to explore familiarity versus displacement. Using salvaged steel and brass, he creates pieces that form an armored platform for hand-painted enamel symbols and broken text, inviting viewers to navigate the psychogeography of his works.

His latest pieces incorporate repurposed industrial materials and signage, reflecting on the iconography of public spaces and control. Based in Sydney, Australia, Woodley’s evolving artistic practice engages deeply with themes of transformation and visual reconfiguration.