Otis Hope Carey creates moments of calm escape, mesmeric auras and refuge from turbulence, both internal and external, in this new and vivid exhibition titled ‘Yaam ngaya ngaarlu’ - I am water. This latest series presents works that each have a story to tell, standing alone in their relationship with the artist, but working together to form an integral juncture in Carey’s ongoing relationship with culture, artistic practice and Country. Seventh in Otis’ series of solo exhibitions at China Heights, ‘Yaam ngaya ngaarlu’ - I am water like those that have come before, is considerately titled. In language, there is no distinct or exact translation for this phrase and the suggestion here is that the artist’s own connection to water, or more specifically, to his Gumbaynggirr clan totem, Gagaal (the ocean), is a simple fact of life, it is as natural and instinctive as breathing. Through the creation of his paintings, markedly both on stretched canvas and collected bark, Carey produces a visual language for a wide and culturally diverse audience that simulates the feelings, messages and lessons he receives from his relationship with Gaagal and his culture.

‘Yaam ngaya ngaarlu’ - I am water is an exhibition focused on the exploration of and experimentation with colour and the challenges and realisations it has afforded to the artist throughout this undertaking. On his studio practice, Carey reflects “this process has not so much been to push my own senses, because there are so many colours in this show that to me are quite overwhelming, so rather than fight against it, I’m letting go and surrendering to it.” Colours clash, but so do the head and the heart and in a way, this body of work is a means to confront, acknowledge and remedy that which in the past was unable to be expressed visually. Marking a significant time of development in Carey’s wider practice, this growth as an artist as well as human being has come from confronting that which initially challenged close-guarded sensibilities, and through this process ‘Yaam ngaya ngaarlu’ - I am water offers a new perspective of self and therefore of life. This considerable endeavour is purposeful and determined, but also free in the letting go of the hold of colour and truly allows the language of the works communicate their messages through alternate frequencies.

As an artist whose culture and community are an integral part of life and practice, the creating of artworks and sharing of their stories does not occur in a vacuum, Otis explains “one of the biggest reasons I paint is to create a safe space for everybody to learn from each other because I think that’s so important, the more safe spaces we have, the more we can understand each other.” ‘Yaam ngaya ngaarlu’ - I am water allows for this space and welcomes an audience in through an exceptional group of new bark paintings, a deeply cultural and spiritual medium for the artist. This is not the first time we are seeing works on bark by Otis Hope Carey, however it is the first time that these works will be allowed to continue their journeys outside of the artist’s community and immediate family, who have all encouraged Carey to share these extraordinary pieces. Carey terms bark “the perfect canvas” on which to create his odes to the environments from which he receives so much guidance and solace. There is no sanding back of the bark surface, it is all laid bare and through pure intuition and purpose, marks are made and pigment soaks into the undulating surfaces of these powerful and culturally significant items. Taking this idea as a lens through which to view ‘Yaam ngaya ngaarlu’ - I am water, it can be suggested that Carey’s openness and acceptance of what can be created without filter or preconception results in the next piece of the puzzle, a natural progression in the artist’s oeuvre. This experimentation with colour and relationship with medium is Carey’s way of creating visual language, painting an ocean without literal translation, allowing the viewer to feel and channel that which they too are naturally connected to. When speaking of inspiration, Otis looks outward “I always channel energy and for me, it’s that spiritual connection and all the energy that surrounds us that I work into painting.”

Words by: Eva Izabela Balog

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.