Taking its title from the aviation term Ceiling And Visibility OK, used to describe ideal flying conditions, CAVOK continues Kyle Montgomery's exploration of spirituality, materiality and transformation. Inspired by moments of perfect clarity, the exhibition considers the beauty found within organic growth, imperfection and the continual processes of change.

Working across sculpture, Montgomery creates works that balance intuition with careful construction. Colour, texture and mineral forms evoke atmosphere rather than representation, allowing each work to remain open to interpretation.

"Colours are about getting back into Australian nature and ecosystems, sunsets, perfect conditions. CAVOK is pilot terminology for a perfect day to fly so those are the days that inspire me. I don't think there are any ideas or understandings to attach. I like that it's whatever the viewer takes from it. That's what I love.".

Rather than offering a singular narrative, CAVOK invites personal reflection. Viewers are encouraged to bring their own experiences, beliefs and emotions to the work.

"If spiritual emotions come up, that's a plus but whatever people feel, need or like from the works is what matters."

Like the conditions described by its title, CAVOK offers a space of openness, where meaning is discovered through experience rather than explanation.

Devotion is an ongoing series by Sly Morikawa documenting Sanja Matsuri, the annual Shinto festival held in Tokyo’s Asakusa district. First published as a photobook with Friend Editions (Jp) in 2024, the project captured the presence of yakuza families within the festival.

While the yakuza remain central to this new body of work, the series expands its focus to the rhythms and atmosphere of Sanja Matsuri itself: moments of anticipation and exhaustion, collective ritual, celebration, and quiet reflection.

Sly Morikawa is an artist and photographer whose sensitive, dreamlike photographs capture the intuitive interplay between intimacy and desire. Morikawa explores the dualities of the human experience—light and dark, calm and chaos, beauty and tension—by drawing on recurring themes of sex, subculture, and self. Through her depictions of the angelic and the unorthodox, she invites viewers to reflect on their own agency, whilst presenting a world in which one can suspend biases and taboos.

An exhibition bringing together paintings by artists from Iwantja Arts, Jilamara Arts & Crafts Association, Munupi Arts & Crafts Association, Papunya Tjupi Arts, Papunya Tula Artists and Warakurna Artists. Spanning the deserts of Central Australia to the Tiwi Islands, the exhibition presents a survey of First Nations painting through the distinct practices of some of Australia's leading Aboriginal-owned art centres.

The Art Centres:

Iwantja Arts (APY Lands, SA)
Located in the APY Lands and established in the early 1980s, Iwantja supports over 40 Yankunytjatjara artists through painting, experimental media, and collaborative film projects like NEVER STOP RIDING. Featured artists Rosalind Tjanyari and Sallyanne Roberts exemplify the centre's innovative cultural strength, translating ancient Tjukurpa into bold contemporary works that celebrate Anangu artistic excellence.

Jilamara Arts and Crafts (Milikapiti, Tiwi Islands)
Based in Milikapiti on Melville Island, Jilamara translates ceremonial ochre body markings ("Jilamara") onto canvas, silk, and digital media. As the cultural hub of the Tiwi community, it supports around 60 artists whose works are held in major collections worldwide. Featured artist Jacinta Lorenzo carries this dynamic tradition forward, reimagining sacred clan totems and Tiwi creation stories with a vibrant contemporary palette.

Munupi Arts & Crafts Association (Tiwi Islands)
Formed in 1990 at Pirlangimpi on Melville Island, Munupi is the youngest Tiwi Islands art centre, providing vital space for cultural pride, employment, and artistic expression through ochre painting. This exhibition showcases six exceptional Munupi artists: Andre (Andrea) Tipungwuti, Christine Puruntatameri, Declan Apuatimi, Josephine Burak, Thecla (Bernadette) Puruntatameri, and Theresa Burak. Their ochre canvases vividly depict Kulama ceremonies, Tutini (ceremonial carvings), and seasonal Tiwi narratives.

Papunya Tjupi Arts (Alice Springs, NT)
Based in Papunya, the birthplace of the Western Desert movement, Papunya Tjupi (est. 2007) supports 150 artists carrying on their forefathers' legacy through strong line‑work and evolving storytelling. The centre keeps culture strong through intergenerational teaching of knowledge. Featured artist Keanu Nelson Tjakamarra represents this new generation, powerfully connecting ancestral narratives to the distinctive Papunya style.

Papunya Tula Artists (Western Desert, NT/WA)
Originating from Geoffrey Bardon's 1971 school‑mural project, Papunya Tula is the historic foundation of the Western Desert art movement. Now representing around 120 Pintupi and Luritja artists, it remains wholly Indigenous‑owned. Featured artists Kathleen Nampitjinpa and Melissa Nungurrayi continue this profound legacy, producing works of deep cultural significance that define the movement's enduring brilliance.

Warakurna Artists (Ngaanyatjarra Lands, WA)
Established in 2005 in the Ngaanyatjarra Lands of Western Australia, Warakurna Artists is an energetic community enterprise preserving local Tjukurrpa (Dreaming) through expressive contemporary painting. Beyond the studio, it facilitates trips on Country and supports local employment. Featured artist Elaine Lane embodies the centre's distinctive Western Desert style, channelling deep Ngaanyatjarra cultural heritage and traditional narratives onto canvas.