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Chin Chin Wall of Art


The Chin Chin Wall of Art is a not-for-profit independent contemporary art space for the moving image. Situated in the Melbourne CBD and viewed from Chin Chin Restaurant, Flinders Lane and Higson Lane seven nights a week from dusk, the projection wall offers a broad range of video works from local, emerging, established and international artists.

The projection space presents a context for the diversity, education and understanding of contemporary video art. Offering a non–traditional exhibition space, we provide a platform for informative and experimental work that is provocative, controversial although not offencive. The provision of time, space and dialogue encourages risk and criticality. We aim to facilitate creative networks and connect the local art community with the global sphere of contemporary art. The program is made up of both curated and proposal based exhibitions and projects attracting a diverse audience local foot traffic, Chin Chin guests and the Melbourne CBD public.

The Wall of Art accepts proprosals thoughout the year.


Tristan Jalleh - August 2016

Fighting 2012
HD digital video, 1min 30sec


Bus Stop 2011
Digital video, 1min 47sec

Tristan Jalleh

Video Artist & Music Video Director

Cathyann Coady - July 2016


My artistic interests and expressions are inescapably autobiographical, and represent a distillation of my visual responses to “where we are” as a society.
My work extends on the vernacular of Pop and Conceptual Art. Sometimes ‘readymade’ objects are displaced from their more orthodox context, making them suddenly more visible and confronting. As an artist, my intention is to raise awareness of, and connect with, our time - a period which seems to be characterized by enormous privilege and over-indulgence, bursting at the seams with a limitless array of options and decisions which can generate their own sets of anxieties for individuals. The same self-perpetuating machinery which urges us toward increased levels of consumption also promises us solutions – pills and other medication, the endless exploration of our own psyche, or products that might enhance the pleasure that our bodies are able to offer us and others. 
A sole medium or a single work in isolation can be insufficient to address any major theme in a holistic way, so I recognize the need to variously choose installation and performance art (including dance), video, sculpture and painting in my ongoing practice.

Grace Carey - June 2016

'Do I Get You High?’ was intended to capture the fluidity of gestures while simultaneously showcasing the fragmentation of stop motion animation. The flowing line of a feminine figure is initially associated with ideas such as delicacy, gentleness and softness, yet this work brings full focus to strength, confidence and power. This sequence invites you to move through the first instance of what is graceful and light to consider a bolder, more powerful identity.
This work was articulated through a combination of stop motion animations and digital abstraction where over 400 hand drawn frames were reinterpreted into digital sequences. Considered experimentation with glitching effects and animation techniques resulted in abstracted sections layered underneath the stop motion elements, highlighting the difference in fluidity from stop motion animation to traditionally captured film footage. Aspects of anonymity, height, gesture and elevation further provoke the ideology of what it is to be strong and how a dominance in form can take shape.
The conclusion to this question of 'Do I Get You High?’ is left lingering, unanswered, never still.

From the age of three Grace Carey has been carrying around her pencil case full of crayons and telling anyone who would listen that she's a 'real artist'. Many years later her conviction in artistically contributing to the world is stronger than ever and she has now swapped her crayons for a laptop and a projector. Evolving into this contemporary visual medium has also resulted into her merging passions of fine art with film. In recent years, Grace has successfully exhibited in numerous exhibitions, created projection commissions for local bands and has been selected to The Gertrude Street Projection Festival and Richmond Housing Estate’s The Space Between the Light Festival with her hand drawn stop motion animations and dynamic time lapse explorations. In 2016, Grace has also been chosen to project on the Flinders Lane’s Wall Of Art, a site of much personal inspiration over the years.
Grace is currently studying at Melbourne’s RMIT University on an awarded scholarship for her artistic endeavours.

Sean Whittaker - May 2016

Presented as a collection of fragmented vignettes, For Those Who Came in Late documents a series of absurd, slapstick and at times seemingly pointless actions performed by the artist in the studio. Referencing the disjointed nature of daily comic strips and taking its name from the prologue of Lee Falk’s The Phantom, the pacing of the videos is sporadic, jumpy and out of order, forming a sort of nonlinear narrative wherein each fragment is connected to one another through the repetition of objects, colours, actions and aims. Acting more as an overview of a practice than a singular work, collectively the videos question the nature of intention over process – whether something needs to have a ‘point’ at all.

Through his idiosyncratic approach to and use of language, objects and actions Sean’s practice critically examines the role of aspiration in contemporary culture – particularly the at times fraught relationship between notions of failure and success. Expressed through a variety of media, his work often takes the form of video installation and sculpture, combining elements of both found and made objects and performance.

Sean completed his Bachelor of Fine Arts at the Victorian College of the Arts in 2015, graduating with First Class Honours. His graduate work was the recipient of multiple awards including the Chin Chin Wall of Art award.

Gary Willis - April 2016

‘TEVE VUDU is a remake of a series of videotapes originally produced in 1982.  More detail is available from Australian Video Art Archive website (Monash University).
The original objective of the 'TEVE VUDU' project was to bring the images and stories of those who have fallen from grace, back into the public arena. In a time when television only presented images of the lives of the rich, the famous and the upwardly mobile, our objective was to present the back-story of our social fabric to the general public.
Unable to raise the funding required to produce TEVE VUDU as a project for public television we decided to produce a low res. version of this project independently, based on artists in our circles. In this regard these tapes become ‘art video’ although they were never exhibited in their day.
Using Andy Warhol’s technique of just setting up a camera and leaving his subjects to say and do whatever they liked, we set up our recoding equipment and left our subjects to themselves.  The brief was for each person to make intimate contact with their own issues and eventually revealing some personal secret to the camera in the knowledge that, just as with the original brief, we would muffle their confession using a range of audio and video interference techniques.  Christine Meering translated each tape into a choreographed dance sequence.  These dance sequences were later chroma-keyed in to the bottom of the screen becoming a sub-title to translate, whilst the audio was altered in accordance with the wishes of each subject to subvert the literal translation of the material being revealed.

Imogen Henry - February / March 2016

Imogen Henry is a Melbourne based artist who works in animation, video, painting and illustration. Her practice exists in the imagination of a morbid child-oracle with a predilection for electronic music. She creates surreal environments fuelled by the thrill of nightmarish nostalgia, and childlike visions of a joyously dystopian future. Her practice is dominated by naively psychedelic creatures, who come to life when listening to clubland tunes.

Imogen was born in Carlton in 1990. An award winning graduate from the VCA in 2014, she spent most of 2015 living between London and Berlin.
Imogen has worked as a storyboard artist with the BBC ‘Eurovision’, an animator on the Melbourne Fringe Festival ‘Peta and the Whale’ and a VJ at Loop - Project Space and Bar ‘Hard Rubbish’.
She was a finalist for the ‘Macquarie award for Digital Portraiture’ at the National Portrait Gallery of Australia, a finalist for the ‘Majlis Traveling Scholarship’ at the Margaret Lawrence Gallery, and has been exhibited at the George Paton Gallery and the BlackCat.



Olivia Floate - November 2015

Olivia Floate is a recent graduate from the Sculpture & Spatial Practice program at the VCA in Melbourne.  Her mother followed her around as a child ‘cleaning up one mess after the next’, although things haven’t changed too much, Olivia has channeled her passion into things that are slightly more useful.  Reoccurring ideas in her work include things she has always been interested in, finding the humour in ordinary ideas by exploring their disturbing and unsettling qualities.  Always a sculptor she has recently been experimenting with video art forms, and plans to continue to do so in the future.

Guillaume Savy - October 2015

The bulk of Guillaume Savy's work derives from the creation of fictional lands. The individual works exist as attempts to materialize historical moments, elements of pop culture and personal stories from these lands. Digital video and photography along with morphing software are his media of choice to convey these materializations. He combines the use of recognizable visual and narrative tropes gleaned from cinema, advertising and propaganda together with the uncanny qualities of the fictional lands, their languages and idiosyncrasies.

In "A Vyrcanian Story", the downfall of a heretic stone-worshipping cult is juxtaposed to a vision of androgynous heavenly beings. Through the two channel video projection the artist dramatizes and caricatures some of the spiritual and existential questions that have been with him over the past few years, in order to make sense out of them and hopefully generate further questioning on the relationship between beliefs and material structures.

Screening Fashion - September 2015

RMIT presents SCREENING FASHION: a collection of short films by students of the Bachelor of Fashion (Design) (Honours) program.  Just as fashion has transcended from illustration to photography, a shift is now being made toward the next medium - the moving image.

What is fashion?  What is a fashion film?  What is not a fashion film?  How can the moving image be used to communicate ideas around fashion? This studio explores the expanding relationship between fashion and film. Throughout history fashion and film have gone hand in hand.  However, recently there has been a shift where fashion designers are choosing to work with film as a medium to communicate concepts and collections.  With the growth of ShowStudio and A Shaded View of Fashion Film competition it has given established and emerging designers the opportunity to collaborate, explore and expand how fashion can be communicated and experienced through film.  The films are personal responses to a collective questioning of the nature of fashion, both as a physical and metaphysical phenomenon.

School of Fashion & Textiles, RMIT University

Yandell Walton - August 2015


Transition investigates ideas around impermanence in particular the work uses the shadow motif to focus on the trace we leave on the world around us. The exhibition at Wall Of Art, Chin Chin connects with the projection presented as part of the RMIT Design for Impact Festival in Hosier Laneway. The figurative shadows connect the iconic Melbourne Laneways speaking of the passage through time using the ephemeral medium of video projection.

Yandell Walton is an accomplished projection installation artist exhibiting regularly in galleries and non-traditional public spaces both in Australia and Internationally.  In 2015 she completed a Masters of Fine Arts at Victorian College of the Arts, focusing on projection.  Recent public art commissions include Absent Presence in Townsville and Transition in Melbourne.  Her projection work has been part of Digital Graffiti (2015) winning the Best of Show Award, Experimenta Speak to Me (Melbourne & Brisbane 2012-14), PUBLIC Festival Perth (2014), Melbourne Festival (2012), VIVID Festival Sydney (2013), ISEA (International Symposium of Electronic Art 2013) and White Night Festival Melbourne (2013/15). Yandell is currently co-curating the Gertrude Street Projection Festival, lecturing at Royal Melbourne Institute of Technology and facilitates Master classes and workshops on projection.

Roy Chu - July 2015

Roy Chu explores notions of identity in Australia where cultures cross through personal relationships.  He investigates the relationship between appearance, circumstance, perception and cultural formations. 
The central focus of Roy Chu’s work is photography.  His work currently investigates the structure of relationships of people from differing ethnicities, as well as that of their parents and issues pertaining to identity of their offspring.

Roy Chu was born and raised in Taipei, Taiwan. He has moved to Melbourne in 1998 and received his BFA in Media Art at RMIT University.  Chu has been working as commercial photographer since 2003.  In 2005, he started the online magazine The website features video interviews with a variety of artists and reviews of exhibitions.  In 2010, Roy Chu was invited to join the board of NotFair non-profit organization, along with Sam Leach, Tony Lloyd and Ashley Crawford.  Chu has produced and published an artist book titled “Tony Woods - Archive” in 2012.  In 2014 he has received his Master of Contemporary Art at VCA Melbourne University.  Since 2005 he has been constantly videoing interviews of Australia contemporary artists and is currently working on his next project “Tasmania“.

Andrew Treloar - June 2015

The Wall is the Floor and the Floor is the Wall is part of a series of film works made for a masters research project.  These films are intended to exist simultaneously as documentations of an event, contemporary artworks, and dance made ‘for film’.  The films grew out of a strategy utilizing film of dance improvisations as an athletic coach might use film for training purposes.  I would like to thank Harrison Ritchie-Jones for his collaboration and participation in this work, and James Wright for his cinematography.

Andrew Treloar’s practice is grounded in drawing and extends to painting, installation, performance and trans disciplinary actions.

He completed a Masters in Contemporary Art in 2012 and is currently completing a Masters in Fine Art by research, at the VCA, University of Melbourne.  His research project studies the functional interrelationships of the gestures and conventions of dance and sport within art practice.

Andrew has won a number of awards and grants including the Mary and Lou Senini award at McClelland Gallery and the Fiona Myer Award.

During March, Andrew presented Porous Space. Simultaneous Event, an event-based exhibition which connected West Space, Bus Projects and some Dance Massive performances.

Youjia Lu - May 2015

Youjia Lu’s video works explore the fragmented body, vision, sexuality and suppression within human inner states. Youjia continues to develop a strong desire to explore the conversation between traditional arts and video or projected visual mediums; namely, “the art in the video/image” and “the video/image in art”.

IN/OUT portrays a seeming eternal struggle for freedom and release. Through motion and imagery witness an attempt to escape the confines of a womb into the world while exploring the contrasts of birth and death...
Through the gaze of Surreal Eye, this project offers an investigation of the internalized horrific subconsciousness within the contemporary surreality. As the Surrealist Andre Breton wrote, “Beauty will be not only convulsive or will not be, but also compulsive or will not be. Convulsive in its physical effect, compulsive in its psychological dynamic.” In this project, Lu intends to explore the convulsive beauty and compulsive desire suppressed under the superficial reality. The eyes are always watching, desperately struggling, anxiously decoding the noise of its surrounding at the same time projecting this fear and pressure onto its environment.

Penelope Hunt - April 2015

Penelope Hunt’s voyeuristic video Night Games contains elements that are both familiar yet alienating. Whether hidden behind bushes to watch nameless football players whose actions are often obscured or off screen and whose team allegiances are unknown, these are not heroes and this is not a spectator sport.

All filmed at night, from a distance and a hidden perspective, Night Games explores the sense of being on the outside, both literally and metaphorically. As a woman, filming the private world of a football training session where the anxious shrieks of “Ball! Ball! Ball!” echo through the cold suburban air is as much voyeurism as it is a search for understanding into this closed off male domain. The blank scoreboard acts a mask to the action, reminding the hidden, complicit viewer that this more akin to surveillance than a spectator sport and this is the closed world of The Team, The Challenge and The Personal Best.

There is an endless quality to Night Games as each video fails to reach a conclusion and meditatively mirrors the ongoing nature and palimpsest of time and our existence within it.

Andy Buchanan - March 2015

Andy Buchanan is a digital artist, award winning animator and researcher from Melbourne, Australia. His current work focuses on the use of animated and sequential art as a research method for the investigation of temporal consciousness and improvisation. Other animated work follows a history of surrealism and abstract expressionism and with a focus on movement and meditative art making practice.

As illustrator, industrial designer and graphic artist, Andy’s work is responsive to the evolving needs of corporate, non-profit and academic innovations.
The series Plasmatic No.1, No.2 and No.3, presents three projected entities that embody elastic possibility and impossibility at the same time.

Kendal McQuire - February 2015

Kendal McQuire is interested in the translation between the drawn image and the three-dimensional object. What happens when a drawing becomes an object? In these two videos she prompts images to perform as if they are objects, by investigating the animation of a 2D cutout in a 3D world.

In Flat forms flex a flattened figure unrolls and unravels, bending and bowing.
The material ‘acts up’ and ‘kicks back’, appearing to have its own agency. 
In an absurd practice of ‘truth to materials’ a yoga mat performs a series of poses.

Gold run depicts a runner cloaked with a gold silhouette that is haphazardly superimposed onto a moving landscape. The runner’s feet struggle to keep up with the moving landscape, giving the appearance of a poor analogue attempt at a digitally animated effect.


Simon Pericich

'Nothing Compares 2U’ and ‘Pixsells’.
Simon Pericichʼs hysterical, dark brand of makeshift art production is concerned with the terrifying awareness that humanity and its current actions are, in essence, irrationally selfish and detrimental. Traversing large-scale installation, video and image his nihilistic dystopias act like an evolving epitaph and harbinger for a future that seems out of the control of its population.
Sometimes stemming from the autobiographical, sometimes detached commentary on consumer trends, Pericichʼs prolific practice forms transitory bonds between audience members and acts as an invitation or platform to participate. His methodology has been cited as Relational Aesthetics for perverts and his work has a particular knack of salvaging commonplace materials or ideas to create absurd yet poetically obsessive shrines that examine yet defy commodification. His recognizably ad hoc and sinister style is always ready to inhabit new territories and tries to speak of that big heavy junk, you know, like being alive.

RMIT Fashion Series 2014


RMIT presents SCREENING FASHION: a collection of short films by students of the Bachelor of Fashion (Design) (Honours) program.  Just as fashion has transcended from illustration to photography, a shift is now being made toward the next medium - the moving image.

What is fashion?  What is a fashion film?  What is not a fashion film?  How can the moving image be used to communicate ideas around fashion? This studio explores the expanding relationship between fashion and film. Throughout history fashion and film have gone hand in hand.  However, recently there has been a shift where fashion designers are choosing to work with film as a medium to communicate concepts and collections.  With the growth of ShowStudio and A Shaded View of Fashion Film competition it has given established and emerging designers the opportunity to collaborate, explore and expand how fashion can be communicated and experienced through film.  The films are personal responses to a collective questioning of the nature of fashion, both as a physical and metaphysical phenomenon.

School of Fashion & Textiles, RMIT University

Kawita Vatanajyankur

Kit Webster

Textural projections
Driven by a desire to explore and challenge sensory perceptions, Melbourne-based artist Kit Webster has attracted worldwide attention for his cutting-edge installations. Ranging from site- specific projections to digital sculptures, his works utilise precision programming and visualisation techniques to create captivating immersive environments.

Laura Carthew

Laura Carthew’s practice investigates ritual, memorialisation, identity and the Archive. Elaborate visual experiences are constructed within her work through the use of sound, choreography and props, as means of building new symbolic, fictional and imaginary worlds. By fusing new and old approaches to rituals, hybrid forms and curious relationships to existing practices are created. Her work generates dialogues between ritualised activity, culturally diverse notions of commemoration and the duality of remembering and forgetting.

Georgie Mattingley

WE♥ABATTOIR by Georgie Mattingley as part of the 2014 Next Wave Festival.

Established in 1984, Next Wave is Australia’s most prominent art festival for young and emerging artists. The festival takes place in Melbourne every second year, with an aim to challenge the idea of what art can be and how it is experienced.

WE♥ABATTOIR presents a series of artworks in public spaces and galleries across Melbourne that gives an intimate look at the abattoir workers who prepare our meat.  The Chin Chin Wall of Art showcases two artworks from the WE♥ABATTOIR series, ‘Mi Goreng’, a video projection and ‘Love Songs from the Kill Floor’, a soundtrack played in the bathrooms of Chin Chin Restaurant.


Virgin Australia Melbourne Fashion Festival (VAMFF)

Matthew Linde

Matthew Linde leads a group of over 30 identically clad models through some of Melbourne’s champagne swilling art reception venues to comment on the tradition of the opening night.

Launches are an auspicious mark on many people’s social calendar with a desire for fashionable newness and commodity. By creating a debased collection comprised of the same dress, the work is abstracted from its usual environment and questions its value and creative genius.

As the models mingle in the space wearing matching outfits, the audience notices that the work itself is the mingling – the chatter, the smiles, the drinking, the serious critiques and essentially the exhibitionism of themselves. A Vogue Idea reveals how fashion informs human interaction and specifically how fashion events mediate people to perform under certain criteria, usually pertaining to glamorous cachet and polite bourgeois tendencies.

The evening unravels with pop up appearances throughout the precincts in conjunction with a film screening on the Chin Chin Wall of Art. This contemporary art space for the moving image offers a non–traditional exhibition platform for informative, provocative and experimental video work.

Isobel Taylor-Rodgers

Isobel Taylor-Rodgers uses elements of the humorous and kitsch to analyze how we live, as well as our creation of, struggle with and attempt to preserve our self-identity.  She is also concerned with how this self-identity is manipulated or put into question by external influence. Taylor-Rodger’s work attempts to place a level of responsibility on the viewer, creating scenes that are initially laughable or humorous but deteriorate upon greater inspection. The works become neither genuinely funny nor ironic, but heartbreaking and indifferent.

“They are deliberately funny and then not; gimmicky and suddenly serious, and the works show cracks, flaws, an off-ness that leaves them deeply unsettling. Taylor-Rodgers strives to deliver the unease, the guilt, the grating self-reflection of realising ‘that’s not really funny.”
   - Beth Rose Caird

Taylor-Rodgers works predominantly with digital media, producing both photographic and video pieces. She is most frequently the subject of her own work, though rarely herself.  Isobel has a penchant for the cheap, mass-produced items of $2 shops, which feature, or function as props in most of her work.

On display at the Chin Chin Wall of Art are three recent video works from a kitchen: How to Make an Artwork, How to Make a Relationship Work and How to Make a Frame Work. Presented in the form of a low budget cooking show, Isobel takes the viewer on a diverse gastronomic journey, whipping up recipes for success in each respective field as a soft spoken and awkward TV chef. Each episode is broken into three segments, separated by brief ‘ad breaks’, which the artist again performs in. Isobel creates culinary-quick-fixes to complex life tasks, from DIY construction projects to maintaining a healthy relationship.


RMIT Fashion Series 2013


RMIT presents SCREENING FASHION: a collection of short films by students of the Bachelor of Fashion (Design) (Honours) program.  Just as fashion has transcended from illustration to photography, a shift is now being made toward the next medium - the moving image.

What is fashion?  What is a fashion film?  What is not a fashion film?  How can the moving image be used to communicate ideas around fashion?  This studio explores the expanding relationship between fashion and film. Throughout history fashion and film have gone hand in hand.  However, recently there has been a shift where fashion designers are choosing to work with film as a medium to communicate concepts and collections.  With the growth of ShowStudio and A Shaded View of Fashion Film competition it has given established and emerging designers the opportunity to collaborate, explore and expand how fashion can be communicated and experienced through film.  The films are personal responses to a collective questioning of the nature of fashion, both as a physical and metaphysical phenomenon.

School of Fashion & Textiles, RMIT University

Romani Benjamin

City Loop Collab

Max Copolov

Brendan Lee

The video and photographic artworks of Brendan Lee are an exploration of the evolutionary nature of Australian cultural identity. In recent years, Lee has focused on investigating the unique undercurrents of society through commenting on groups and teams that are unique to Australia; it's stereotypes and history. Specifically, Lee's ongoing project examines the cultural and historical differences between Larrikins, Bogans and Hoons, their approaches to competition, affiliations and filmic references.

Lee’s subject matter goes to the core of the Australian male's competitive nature and looks outside of the mainstream for his references. Games of chance, motor sports and drinking contests are all subjects Lee brings to the forefront in his search for the Australian spirit.

In late 2012 Lee staged his second survey of recent works at LUMA titled One of the Blokes and was also included in a major survey of Australian video art, Scanlines: Australian Video Art since 1960.

Brendan Lee is currently unrepresented.

Michael Meneghetti

Michael Meneghetti is a tourist exploring the boundaries of masculinity and cultural myths through live performance and video.

He is the founder and curator of the Propaganda Window project (2008-2012), and is best known for live art events Performprint (Fremantle Arts Centre 2012) and Heterodoxia (2010 Next Wave Festival).
Michael draws on his childhood experiences in rural Victoria, his migrant Italian heritage, and themes of modern masculine archetypes.  His work is a pantomime of failed machismo: a life shaped through immigration, assimilation, and changes of territory and boundaries. 
Michael blends folklore and myth, science and technology, rural family history and makeshift ingenuity into new performances and installations.
“For some time my practice has involved making crude performances with prosthetics and costumes that change and affect my physicality.  By building these new scenarios, I aim to engage with a wider group of people beyond the traditional gallery.”
Michael’s rural research comes from a fascination with the way his grandparents repurposed discarded household rubbish.
He continues to produce work that champions a counter to the destructive homogeny of mass production and consumption.

Adele Varcoe

Adele Varcoe is an Australian artist and designer who draws from fashion to create participatory performance events.

Adele is interested in the psychology of fashion and how fashion can change what we believe clothing and dress to be. Over the past four years Adele has been creating installation/ performance/ events that explore how a new concept can be presented as a fashion in our mind.

Typically working with the marquee or tent as a platform, Adele Varcoe uses the shift that the temporary structure of the tent provides as a scenario where fantasy, desire, exclusion and community can happy simultaneously. Through participation either inside or outside the tent the audience’s perception of what clothing, dress, fashion could be challenged. These scenarios test the role the imagination plays in creation of fashion and a tool for Adele to further explore how a fashion is made.

Before embracing her postgraduate studies Adele worked with Bernhard Willhelm in Paris and as a special effects artist on a number of Australian films. Alongside her creative practice, Adele teaches within the school of Architecture and Design at RMIT University.

Robin Hely

Robin Hely has had a checkered career as an artist working mainly in the medium of deception. The last decade has seen him masquerading as a missing person, attempting to deliver large unwieldy packages to unknown recipients in Oporto Portugal, filling up Conical gallery with cardboard boxes, building illegal sculptures in downtown Melbourne, going on blind dates wearing a hidden cameras and setting up secret underground organizations dedicated to altering the perceptions of their participants.

 Hely now resides somewhere in Victoria and believes that he can heal people with the power of His Gaze. He has recently completed a PhD in participatory art at Monash University. 
“Whatever his shortcomings as a human being, he’s undeniably an amazing artist. And his sociopathy and his genius kind of go hand in hand. 'As an artist, I have a big problem,' he said to me once. 'I don’t really like art. I just love fucking with peoples’ heads.' Yeah. 'Interventionist performance art', he’s calling it now. Previously known as 'interactive public theatre'. I still like 'reality art'. Whatever it is, it’s something else. Oh, and then there’s Neurocam. Changed my life, y’know. I miss the evil bastard. He’s never dull.” - Teigan Evans 2006.

Bonnie Lane

Bonnie Lane is a video artist currently based in Melbourne and Los Angeles.  Working predominantly in video and video installation, Bonnie’s practice focuses on universal human experiences from an often-existential perspective.  Visual techniques such as masking and unusual methods of video projection, create a departure and escape from the ‘flat rectangular screen’ and allow video to be used as a means of recreating memory and triggering sensorial experience.
Her artworks are often wholly or partly autobiographical - an amalgamation of experiences and memories, dreams and nightmares, fantasies and fears.
Bonnie Lane is represented by Anna Pappas Gallery.

Kieran Boland

Kieran Boland is an Australian artist based in Melbourne.  His work is interdisciplinary; often exploring transitional relationships between drawings/ works on paper and audio-visual narratives.  Past projects have incorporated watercolour, pencil, pen and ink on paper, aural activities including live radio broadcast, film/videos that feature professional and amateur actors for gallery installation, public screening as well as online formats.  Documentation of selected projects from 1998 to the present can be found at  All projects are copyright © Kieran Boland.  Any enquiries can be directed to


Georgie Mattingley

Georgie Mattingley graduated from the Victorian College of the Arts with a Bachelor of Fine Arts (Honours) in 2012. She has spent time practicing in Melbourne, Australia and in Mumbai, India, where she developed an ongoing fascination with overly abject sites such as toilets, tips, slums and abattoirs. Her belief in art
as a social language has led her into peculiar collaborations with local slaughter men, vetinary surgeons, rack pickers and street beggars, all of with whom she has shared the most stimulating conversations about chickens;; all in the name of art. Ultimately, it is with a playful sense humour and a quirky visual aesthetic that Georgie aims to beautify these confronting spaces or events, as a tool to question people’s limits and values.



Kotoe Ishii

Kotoe Ishii is an artist currently based in Japan.  Kotoe aims for a bold and minimal aesthetic to achieve complexity within her work, Dressing, Jumper and On the Run. The feminism in Ishii's work resides in the use of the female body, and boundless passion. By exposing  body in front of the camera, Ishii am able to objectify herself thus leaving the image of her body to exist separately and outside of herself. Moreover, through the editing of sequences using stop-motion animation technique, the flow of reality (visual) is twisted. This distancing process allows her to present a series of uncomfortable private moments in public places, often with consequences of staging her own image as both childish and sexual.

Andrew Liversidge

Andrew Liversidge makes conceptual objects and videos. He is interested in the romantic quality of the conceptual gesture. Recurrent themes include abstraction and the collapse of finite models, the infinite and its relation to metaphysics and epistemology, limit, order, repetition and paradox. His work often involves self-portraiture.

Dongwoo Kang

Candlelight Protestival
‘Candlelight Protestival’ shows the possibilities and the limitations of the new social movements in the post modern era because of the position in between the protest and the festival that ‘private’ self can be accepted their action as the ‘festival’ to the public without ideological risk of image as offence, while their concept of expression is protesting. Protest is a risk to individuals but the festival has no risk. However both the ‘protest’ and the ‘festival’ are connected with the concepts of desire and enjoyment.


Unidentified Character – Dialogue
The abstract images that I created cannot only be perceived as visual but they also are a catalyst to a suggested reading of possibilities. But it is also constructed as a visual image in itself. It is a restoration of the basic perception – seeing and understanding at the same time. Therefore the language style of this formality or its ‘unidentified code’ can only be perceived visually.  Even words and seeing are connected to the psychological image. There is no absolute consistency between knowledge, explanation and sight.

Mia Salsjo

Mia Cera Salsjo lives and works in Melbourne.  Mia works in a variety of mediums including video, composing original music, large material works and drawings.  Mia is represented by Mars Gallery and is currently working towards her solo exhibition and several group exhibitions this year including a performance and video projection.

Brie Trennery

Trenerry completed a Masters of fine art at RMIT in 2001 and went on to co-found Kings ARI whilst exhibiting her work in Melbourne. She primarily works with video and digital media and has taught video production at VCA, VUT and RMIT since 2003. Brie has exhibited her work both locally and internationally with works exhibited in galleries including Westspace, PICA, The Directors Lounge in Berlin & The AC Institute in New York. Trenerry's work has been featured in a number of publications including Photofile and Australian Art Collector. Brie Trenerry lives and works in Melbourne.

In her video works, Trenerry's characters are often furtive, fugitive and trapped in hostile environments where they are subjected to recurrent physical manifestations of their anxieties.

Hannah Raisin

Hannah Raisin lives and works in Melbourne.  Using photography, video and performance, my practice engages unusual bodily actions and interactions with objects and my environment as a way to examine and interrupt projected contemporary social and cultural ideals. My concerns manifest in the forms and functions of the body and looks toward performance and embodiment as a way to explore and subvert limiting social identification codes. My current body of work focuses on animality to examine and reflect contemporary western societies relationship to domesticities or wildness in imagining how we might transgress restrictive identity norms and stereotypes embedded in our socio-cultural environment.

Chin Chin - and while you wait

LOOKING FOR OUR MENU? Sorry Mario, the princess is in another castle!

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