Please join us at Sydney Contemporary 2024 for the debut of four extraordinary new paintings from Australia’s most senior female contemporary First Nations painter, Regina Pilawuk Wilson. Wilson is a senior Ngan’gikurrungurr artist, NATSIAA winner and cultural director of Durrmu Arts Aboriginal Corporation.

A master weaver, award-winning painter and living legend whose work is acclaimed and collected globally, Wilson’s newest paintings thread together two distinct strands of her practice, linking the spellbinding line work that pulses through her colour-soaked paintings with a weaving tradition spanning generations.

Wilson’s work is in the permanent collections of the British Museum, the Art Gallery of New South Wales, the National Gallery of Victoria and the Gallery of Modern Art. She has exhibited at LACMA in Los Angeles, The Moscow Biennale, the National Museum of Arts in Washington D.C. and numerous other important public and private institutions worldwide.

“My grandfather, before European contact, used to make fish traps to put in the rivers and billabongs to catch fish, turtles and prawns,” says Wilson. “My sister said for me to put the design onto the canvas so I can tell my story about what our grandfather used to do and the syaw and pupunyi. Now the story is owned by me through painting and weaving.”

Sign up now to be the first to receive exclusive previews and priority access to this upcoming release before the art fair launches at Carriageworks this September.

For acquisition enquiries, please email dean@michaelreid.com.au

Breakthrough artist Julz Beresford makes her Sydney Contemporary debut in 2024, presenting a rotation of three new landscape paintings across four days. This year Beresford has become one of our most coveted new painters, an accolade that follows news of her formal representation by Michael Sydney + Berlin. Collectors of the artist’s paintings are situated coast to coast, with an increasing appetite being demonstrated by collectors in North America and the UK.

Beresford’s paintings depict heroic and immersive terrain and are soulful expressions of her enduring affinity for the New South Wales Hawkesbury Region. The artist captures the stillness, romanticism and moody quietude of rippling waterways flanked by tangled bush, tumbling sandstone and ethereal wisps of eucalyptus.

Julz Beresford’s major presentation at Sydney Contemporary precedes a scheduled solo exhibition in December at Michael Reid Sydney. Those interested in acquiring are strongly encouraged to begin a conversation right away.

Sign up now to be the first to receive exclusive previews and priority access to this upcoming release before the art fair launches at Carriageworks this September.

For acquisition enquiries, please email danielsoma@michaelreid.com.au

Leading Australian contemporary artist Tamara Dean plunges the viewer into a blustery, dreamlike world with her new work, A Sudden Gust of Wind (After Hokusai/Wall), which will make its keenly awaited debut at Sydney Contemporary 2024.

While channelling the thematic currents that have long animated her practice, which delights in magnificent entanglements of human and natural worlds, this spectacular image also represents a bold new creative flight – one connected to a centuries-old lineage of iconic, elementally charged works by Hokusai and Jeff Wall.

Dean’s showing at Sydney Contemporary will arrive soon after her Supernatural exhibition at Michael Reid Berlin – the artist’s first solo presentation in the German capital – as well as an expansive installation at the world-famous outdoor photography festival La Gacilly Photo and a survey of early works on view at Michael Reid Murrurundi.

Those interested in discussing an acquisition can contact colinesoria@michaelreid.com.au 

At this year’s edition of Sydney Contemporary, the Michael Reid Sydney + Berlin installation will be anchored by a breathtaking collection of richly detailed paintings and soaring larrakitj by Djirrira Wunuŋmurra Yukuwa.

This monumental display will mark the celebrated Yolŋu artist’s first major release of new work since her acclaimed 2022 solo show at Michael Reid Sydney and arrives soon after her showing in the landmark exhibition Miwatj Yolŋu – Sunrise People at Bundanon.

Wunuŋmurra is among the most exciting voices to emerge in recent decades from the creative explosion at the Buku-Larrnggay Mulka Art Centre in Yirrkala, Northeast Arnhem Land. Held in major collections across Australia and abroad – including the Art Gallery of New South Wales – the artist’s work is distinguished by an uncommon meeting of two profoundly distinct stylistic approaches.

On the one hand, her art is grounded by the continuation of a sacred geometric clan design (Buyku), while on the other, it effects a declaration of self through a complex, personal floral motif (Yukuwa).

The Dhalwaŋu clan design of the Yirritja moiety, the Buyku miny’tji is an intricate diamond pattern – gridded, angular and mathematically precise. The design was given to the artist by her father, the renowned artist and Dhalwaŋu clan leader, Yaŋgarriny Wunuŋmurra, with whom she worked for many years.

When Wunuŋmurra’s right to paint Buyku was challenged by a family member, she chose a different motif representing one of her own names, Yukuwa. Sinuous, floral and fractal, the design refers to an endlessly unfurling yam flower on the vine. The annual reappearance of the yam symbolises the revitalisation of the people and their land.

Our art fair presentation spans the two expressions of Wunuŋmurra’s practice, Buyku and Yukuwa, inviting the viewer to comprehend ideas around identities within a Yolŋu philosophical framework.

To receive an early preview and priority access to the latest work by Djirrirra Wunuŋmurra Yukuwa, please email dean@michaelreid.com.au

At the 2024 edition of Sydney Contemporary, Michael Reid Sydney + Berlin will present a sublime new suite of etched-metal works by celebrated Yolŋu artist Gaypalani Wanambi.

The artist’s highly anticipated body of work is her first since being awarded this year’s Ravenswood Australian Women’s Art Prize. It also follows her showing in the landmark Bundanon exhibition Miwatj Yolŋu – Sunrise People as well as her critically acclaimed, immensely popular solo show at Michael Reid Sydney, which was acquired in its entirety prior to opening.

Working at the Buku-Larrnggay Mulka Art Centre in Yirrkala, Northeast Arnhem Land, Wanambi is the pre-eminent female practitioner within the Found Movement, which sees salvaged metal road signs dazzlingly recast as raw material for extraordinary works of art.

While adhering to the Yolŋu law that art made about Country must use the materials of Country, her practice reflects a younger generation’s expanded conception of what this can encompass. In leading this exciting new wave of Yolŋu artists, Wanambi continues the legacy of her father – the late, great artist and advocate Mr. Wanambi – whom she assisted for many years.

Through her practice, Wanambi honours the songlines of the honey-hunting Wuyal, an important ancestral being of the Marrakulu clan. Tiny Dawurr (honey bees) repeat across her work’s cut-metal surface, producing intricately detailed, shimmering effects with rhythmic undulations.

We are excited to present a new series from an extraordinary talent whose recent accolades have been matched by the burgeoning collector excitement and institutional recognition surrounding her work.

To receive an early preview and priority access, please email dean@michaelreid.com.au

At the 2024 edition of Sydney Contemporary, Michael Reid Sydney + Berlin will present a bold new photographic series by leading contemporary artist Dr Christian Thompson AO.

Titled Yabunbarru, this suite of four spectacular new images marks a thrilling evolution of the Bidjara artist’s singular practice and arrives at a significant moment in his globally celebrated career.

Earlier this year, Thompson was one of eight international artists chosen by the Marina Abramović Institute for a program of original performances staged at the Adelaide Festival. This project was closely followed by a major solo exhibition at the 4A Centre for Contemporary Asian Art, which saw the public debut of newly commissioned still and moving images alongside select works from his photographic archive. The debut of Yabunbarru also precedes MELT Festival, for which the artist will exhibit oversize photographs across the city of Brisbane.

Building on these recent creative triumphs while reflecting on the themes that have threaded through his practice over more than two decades, the artist’s upcoming series presents a dazzling inversion of the visual dynamics at play in his iconic flower walls. Once again, Thompson casts himself at the centre of his artfully constructed floral profusions, which appear thick with symbolism and swirl with questions around Australian history, legal fictions, notions of nationhood and intersectional identities.

But where these fecund arrangements once cascaded in abundance, swallowing the figure and flattening the pictorial plane, here, they cloak the artist’s body like armour and throw him into arresting relief against otherwise minimal, boldly coloured backdrops.

A distinctly Bidjara form of rarrk recurs throughout the series, staying true to the style of the artist’s Country and people. Taking its title from the Bidjara word that loosely translates to ‘the other side’, Yabunbarru is a powerful statement of First Nations sovereignty and queer subjectivity.

We are excited to host the international debut of Yabunbarru by Dr Christian Thompson AO at Sydney Contemporary, open 5–8 September at Carriageworks.

To receive a preview and priority access to the series, please email danielsoma@michaelreid.com.au

At Sydney Contemporary, Michael Reid Sydney + Berlin will host the highly anticipated Australian debut of Species – a spectacular new series from leading contemporary artist, Magnum photographer and master in his field Trent Parke.

Photographs from Species have already garnered international acclaim after being shown at Milan Design Week in a touring exhibition specially commissioned by Magnum Photos and Veuve Clicquot. A centrepiece of the series has since been selected for Australia’s most prestigious photo-based media award, the William and Winifred Bowness Photography Prize.

Captured through an extraordinary feat of endurance and technical wizardry, Species is a thrilling synthesis of Parke’s singular skill and aesthetic sensibilities. “Shooting directly into the sun, with what could be considered a telescope, is a challenge in itself,” says the artist, who lensed his subjects from a distance of 700 metres. “It was 1/2000th of a second, but three months in the making.”

The resulting pictures cast halcyon waterside scenes in a mythic light, with figures silhouetted against a monumental orb while leaping into glinting waters turned molten gold.

“The sun has always been a symbol of the great clock in the sky … the ultimate force of life,” says Parke, who, in 2007, became the first Australian inducted as a full member of Magnum Photos – a distinction he holds to this day.

The acute awareness of time that underpins his ultra-precise process rhymes beautifully with the air of nostalgia that breezes through his images, with the waning sun giving its final bursts of brilliance as swimmers seek ecstatic reprieve from the summer heat.

Parke sees Species as a meeting of two “symbols of universal energy” – the sun and the ocean melting together in a sumptuous pool of colour.

Sign up now to be the first to receive exclusive previews and priority access to this upcoming release before the art fair launches at Carriageworks this September.

For acquisition enquiries please email danielsoma@michaelreid.com.au

Michael Reid Sydney + Berlin will present a spectacular new series of photographs by award-winning artist Narelle Autio at the 2024 edition of Sydney Contemporary.

Titled The Eyes of Her, the artist’s latest series plunges the viewer into mesmerising underwater worlds where ethereal figures swim from the inky depths towards the surface via effervescent swells and sweeping undulations.

“[I’m interested in] how beautiful [the water and ocean] can be, but also the beauty and danger coming together in a transformative space,” says Autio in a recent ABC profile.

The ocean has been an enduring muse for Autio, whose dazzling return to underwater photography – a practice she has perfected over three decades – follows an acclaimed solo exhibition of never-before-seen images drawn from her archive.

That show’s deep dive into her past work – combined with the expanded possibilities of a newly acquired, much larger digital camera – has now informed a sublime new suite of dreamlike images that subtly gesture to the mythical associations between women and water.

“Across the world, folk tales regale us with stories of mermaids, selkies and water sprites,” says Autio, reflecting on the thematic currents that emerged, quite unexpectedly, through the making of her new photographs. “Otherworldly creatures enticing us into the sea.”

Autio’s practice is animated by a mix of extraordinary technical rigour and the serendipitous possibilities of her immersive process. “The jetty is packed and full of humanity,” says the artist, whose images seem tinged with nostalgic affection for endless summer days by the sea.

“[Jetty jumpers] are just having fun, doing good things and just living – by circumstance and happenstance, you get something beautiful.”

To receive an early preview and priority access to works from The Eyes of Her by Narelle Autio, please email danielsoma@michaelreid.com.au