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Five Walls Gallery

@five_walls

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𝗔𝗿𝘁𝗶𝘀𝘁-𝗹𝗲𝗱 𝗖𝗼𝗺𝗺𝗲𝗿𝗰𝗶𝗮𝗹 𝗚𝗮𝗹𝗹𝗲𝗿𝘆
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CURRENT TO OCT 3rd
MG: Louise Blyton
PS1 & 2: Peter Brook
PS3: Irene Barberis
PS4: Amarie Bergman
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When Afternoon Arrives by Louise Blyton continues to Oct 3: In When Afternoon Arrives, Louise Blyton turns her attention to the quiet movement of light through the everyday interior. Her new body of work explores the subtle relationship between light, colour, form and space, drawing from the recurring yet ever-changing moments when afternoon light enters the home and transforms the familiar. Blyton’s handcrafted works occupy a space between painting and sculpture. Constructed from shaped wooden forms and carefully covered with linen, each work is built through a meticulous process in which the linen is cut and applied by hand, minimising folds and seams to create a restrained, refined surface. Multiple layers of acrylic paint are then applied directly to the untreated linen, allowing colour to emerge with clarity and presence. Through this reductive approach, Blyton removes the superfluous, allowing the material, colour and form to carry the work. The resulting works are objects of both structure and atmosphere. Their forms extend beyond the conventions of the painted surface, while their restrained palettes and tactile linen surfaces remain closely connected to painting. Light moves across their surfaces, revealing subtle shifts between colour, texture and shadow. As the conditions of the surrounding space change, so too does the experience of the work. The inspiration for When Afternoon Arrives comes from Blyton’s daily observation of light as it moves through her home. Each afternoon, light drifts across walls, floors and furniture, briefly altering the character of familiar spaces before disappearing. Although this rhythm repeats, it is never quite the same. The changing seasons, weather and angle of the sun continually transform these fleeting encounters. Rather than attempting to capture a particular moment, Blyton’s works remain close to the experience of noticing. Their quiet geometry, considered surfaces and subtle interplay of light and shadow invite a slower form of looking, where perception becomes attuned to small changes and familiar things are encountered anew. @louiseblyton taken in Five Walls by @five_walls
4
11 days ago
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Opening this Friday from 6-9pm is When Afternoon Arrives by Melbourne-based artist Louise Byron In When Afternoon Arrives, Louise Blyton turns her attention to the quiet movement of light through the everyday interior. Her new body of work explores the subtle relationship between light, colour, form and space, drawing from the recurring yet ever-changing moments when afternoon light enters the home and transforms the familiar. Blyton’s handcrafted works occupy a space between painting and sculpture. Constructed from shaped wooden forms and carefully covered with linen, each work is built through a meticulous process in which the linen is cut and applied by hand, minimising folds and seams to create a restrained, refined surface. Multiple layers of acrylic paint are then applied directly to the untreated linen, allowing colour to emerge with clarity and presence. Through this reductive approach, Blyton removes the superfluous, allowing the material, colour and form to carry the work. The resulting works are objects of both structure and atmosphere. Their forms extend beyond the conventions of the painted surface, while their restrained palettes and tactile linen surfaces remain closely connected to painting. Light moves across their surfaces, revealing subtle shifts between colour, texture and shadow. As the conditions of the surrounding space change, so too does the experience of the work. The inspiration for When Afternoon Comes comes from Blyton’s daily observation of light as it moves through her home. Each afternoon, light drifts across walls, floors and furniture, briefly altering the character of familiar spaces before disappearing. Although this rhythm repeats, it is never quite the same. The changing seasons, weather and angle of the sun continually transform these fleeting encounters. Rather than attempting to capture a particular moment, Blyton’s works remain close to the experience of noticing. Their quiet geometry, considered surfaces and subtle interplay of light and shadow invite a slower form of looking, where perception becomes attuned to small changes and familiar things are encountered anew. (Extract - full essay on website). @louiseblyton taken in Five Walls by @five_walls
2
22 days ago
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Sydney Contemporary continues today and we are delighted to be presenting the work of Tokyo-based artist Shuhei Fukuda. Pictured above are two of his works currently on view at the fair: 1.Quiet Presence 006-007 2026, Japanese paper, Silver leaf, Cinnabar 41.5 x 31.5 x 3 cm 2. For Temperature of Colors 008 2026, Japanese paper, Silver leaf, Cinnabar 41.5 x 31.5 x 3 cm If you are attending the fair we welcome you to visit our booth at F07 (Booth essay extract follows) ……for Fukuda, material itself becomes a site of transformation. Working with washi paper and silver leaf, he draws on traditional Japanese techniques while approaching the surface through a contemporary language of abstraction. Silver is not treated as a static colour or finish, but as a material with its own capacity to change. Through oxidation, its reflective surface gradually alters, allowing time and environmental conditions to become part of the work. The boundary between painting and object becomes increasingly fluid, as the surface records both the artist’s intervention and processes beyond his control. Fukuda’s practice reflects an awareness of impermanence and material presence, embracing change not as a departure from the artwork but as an essential part of its existence. The shifting qualities of silver—reflective, translucent and at times elusive—create surfaces that resist a single, fixed reading. Rather than remaining fixed at the moment of completion, the works continue to develop through their encounter with time and their surrounding environment. Recently completing his doctoral studies at Tokyo University of the Arts, Fukuda has exhibited internationally, including Quiet Colors at RUE VERTE, Copenhagen (2023), Ashes and Silver Leaf at Hebel_121, Basel (2023), and Depository Archaeology at Kvalitar, Prague (2023). @shuhei.199431 @missy_u_ @sydneycontemporary taken in Carriageworks by @five_walls
7
a month ago
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Louise Blyton - When Afternoon Arrives, review by Christopher Heathcote: Louise Blyton appears at the cusp of a creative breakthrough. For some time this artist has been describing her recent work as sitting between painting and sculpture. Yes… and no. From a critical standpoint this is more her production zigzagging between aspects of constructivist painting—what in Germany, France and Scandinavia is termed Concrete Art—and the spacial concerns of high 1960s minimalist sculpture. Sitting in her latest show, and soaking up the 16 fastidiously crafted pieces around the gallery, it is evident Blyton perceives art as a solitary transport. So decisions about style, that choice the dabblers will fix upon, are irrelevant. Instead the artist’s focus with these introspective works involves phenomenology, and identifying the physical form which suits what the creator seeks to convey. This is surely why each exhibit has an insistent objectness. Blyton has produced shaped plywood panels lined with raw linen which is stretched taut. The artist works with one motif, a circle, which can be painted upon a sculpture, incised in its surface, or cut through the panel. That circle represents for the artist ‘a metaphor for a passage’. She adds that with these pieces she ‘wanted to break the solidity of surface’, and to suggest spacial ambiguity by having ‘the circle sit back in a dense blackness…’ In some works the outer surface has been coated with sap green acrylic, while every piece has a least one matt black circle painted upon it (the mobile consists of three black acrylic circles, each pierced by a small circular cavity). Six of the exhibits are circular, whereas the remaining 10 pieces are rectangular. 15 have circular holes cut through them, and the other 5 have black circles painted upon them. 9 of these works also have circles incised into them. Those holes are usually centred on the panel to make a symmetrical composition, although in 3 works (By a Chance, Quietly Returning, Just Passing Through) the holes and circles work so well as compositions because they are markedly off centre. The purpose of all her carpentry is to orchestrate subtle dramas of cast shadow á l taken in Five Walls by @five_walls
2
18 hours ago
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Final day of Sydney Contemporary! We’re doing a quick little rehang today to include these three works, as we feel they’re three little gems and deserve to be seen. ✨ The fair is open from 11am–5pm today, and we’d love to welcome you to our booth F07 for the final day. Pictured: 1. Max Lawrence White 119, 46, 139, 125, 206, 45, 40 2024 Acrylic and enamel on board, aluminium frame 60.7 × 60.7 × 4 cm 2. Max Lawrence White 173, 200, 123, 70, 30, 17, 39 2025 Acrylic and enamel on board, aluminium frame 90.7 × 90.7 × 4 cm 3. Max Lawrence White 36, 20, 208, 97, 63, 1, 130 2025 Acrylic and enamel on board, aluminium frame 90.7 × 90.7 × 4 cm To request a live catalogue of works contact Missy at info@fivewalls.com.au @missy_u_ @maxlawrencewhite @sydneycontemporary taken in Sydney Contemporary by @five_walls
6
24 days ago
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129, 118, 186, 193, 159, 198, 28 2024 Acrylic and enamel on board, brushed aluminum frame 608mm x 608mm x 40mm Starting tomorrow! See this work at Sydney Contemporary Art Fair, Booth F7 with Five Walls. Also on display will be works by Japanese artist, Shuhei Fukuda. Sydney Contemporary Art Fair runs from September 3 - 6 at Carriageworks. • • • • 📸 = @chrisbowesphotos @five_walls @sydneycontemporary #maxlawrencewhite #fivewallsgallery #sydneycontemporary #australianart #artcollector taken in Carriageworks by @five_walls
0
a month ago
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69, 82, 42, 25, 72, 140, 201 2025 Acrylic on board, brushed aluminum frame 908mm x 908mm x 40mm See this work at Sydney Contemporary Art Fair, Booth F7 with Five Walls. Also on display will be works by Japanese artist, Shuhei Fukuda. Sydney Contemporary Art Fair runs from September 3 - 6 at Carriageworks. • • • • 📸 = @chrisbowesphotos @five_walls @sydneycontemporary #maxlawrencewhite #fivewallsgallery #sydneycontemporary #geometricabstraction #contemporarypainting taken in Carriageworks by @five_walls
5
a month ago
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114, 197, 133, 145, 11, 83, 15 2025 Acrylic on board, brushed aluminum frame 908mm x 908mm x 40mm See this work at Sydney Contemporary Art Fair, Booth F7 with Five Walls. Also on display will be works by Japanese artist, Shuhei Fukuda. Sydney Contemporary Art Fair runs from September 3 - 6 at Carriageworks. • • • • 📸 = @chrisbowesphotos @five_walls @sydneycontemporary #maxlawrencewhite #fivewallsgallery #sydneycontemporary #australianart #artcollector taken in Carriageworks by @five_walls
4
a month ago
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At Sydney Contemporary 2026, Five Walls Gallery pairs Australian artist Max Lawrence White with Tokyo-based Shuhei Fukuda for a dialogue in minimalist abstraction through systems, materiality and process. White's practice uses a random sequence generator to select colour combinations from 210 studio hues, structured within a consistent geometric framework – a balance of chance and control. Fukuda works with traditional Japanese materials, including washi paper and silver leaf, letting natural oxidation transform the surface over time – blurring the line between painting and object. Together, the two practices trace complementary paths through abstraction: one built on chance and system, the other on material and time. See and buy the works at Sydney Contemporary from 3-6 September, Carriageworks. Buy tickets through the link in bio. Pictured: Max Lawrence White, 36, 20, 208, 97, 63, 1, 130, 2024 Shuhei Fukuda, Quiet Presence 005-011, 2026 Max Lawrence White, 211, 84, 203, 103, 138, 187, 117, 2024 Shuhei Fukuda, Quiet Presence 005-012, 2026 Max Lawrence White, 173, 200, 123, 70, 30, 17, 39, 2024 Shuhei Fukuda, Quiet Presence 005-013, 2026 by @five_walls
12
a month ago
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This is the final week to see Merric Brettle’s striking exhibition PSYCHOPOMP 3 – SURFACE TENSION. The exhibition concludes this Saturday at 5pm. For a catalogue of available works contact the gallery on info@fivewalls.com.au Open Wed-Sat 12-5pm @missy_u_ Pictured: Merric Brettle Pattern Finding 58 2026 autopaint and vinyl on board 52.5 x 42 cm @brettle.merric This is the final week to see Merric Brettle’s striking exhibition PSYCHOPOMP 3 – SURFACE TENSION. The exhibition concludes this Saturday at 5pm. - Pictured: Merric Brettle Pattern Finding 63 2026 autopaint and vinyl on board 52.5 x 42 cm - Pictured: Merric Brettle Pattern Finding 58 2026 autopaint and vinyl on board 52.5 x 42 cm - Pictured Merric Brettle Sense Data - Perspectives on Feedback 1 2026 autopaint, steel and vinyl on board 52.5 x 42 cm approx - Pictured Merric Brettle Sense Data - Perspectives on Feedback 2 2026 autopaint, steel and vinyl on board 52.5 x 42 cm approx. taken in Five Walls by @five_walls
1
a month ago
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- Continuing today is Silver, including this stunning works by Shuhei Fukuda. Silver is less a colour than a condition of light. It exists in continual negotiation with its surroundings, changing with atmosphere, reflection and time. Never entirely fixed, it oscillates between presence and absence, surface and depth, object and perception. In this exhibition, silver becomes an active field through which material, space and experience are brought into relation. Across the practices of Andrew Browne, John Nixon, Lachlan Stonehouse and Shuhei Fukuda, silver is approached not as a shared aesthetic but as a conceptual proposition. It reflects, absorbs and transforms. It carries associations of industry and technology, ritual and ornament, the celestial and the everyday. Simultaneously reflective and elusive, silver resists certainty, continually returning the viewer to the act of looking itself. In Shuhei Fukuda (b.1997)’s practice, silver is both medium and collaborator. Working with traditional Japanese materials and techniques, he embraces the inherent instability of silver leaf, allowing it to tarnish through its interaction with air, humidity and sulphur. Rather than resisting change, Fukuda understands transformation as the work’s essential condition. Time is not represented but materially inscribed, with each work becoming a record of the ongoing relationship between nature, material and human intervention. His works propose an Eastern understanding of impermanence, where beauty emerges through continual transformation rather than permanence.. (Extract - full essay available on our website) Aaron Martin, 2026 Pictured: Shuhei Fukuda Quiet Presence 005-011 2026 Japanese paper, Silver leaf, Cinnabar 65.5 x 45.5 x 3 cm All images by @simonjstrong @shuhei.199431 Andrew Browne appears courtesy of Tolarno Galleries, Melbourne John Nixon appears courtesy of the Estate of John Nixon and Anna Schwartz Projects, Melbourne For a catalogue of available works contact Missy at info@fivewalls.com.au @missy_u_ - Shuhei Fukuda Quiet Presence 005-012 2026 Japanese paper, Silver leaf, Cinnabar 65.5 x 45.5 x 3 cm - Shuhei Fukuda Quiet Presence 005-013 2026 Jap taken in Five Walls by @five_walls
5
a month ago
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- Continuing today is Silver, including this striking work by Lachlan Stonehouse. Silver is less a colour than a condition of light. It exists in continual negotiation with its surroundings, changing with atmosphere, reflection and time. Never entirely fixed, it oscillates between presence and absence, surface and depth, object and perception. In this exhibition, silver becomes an active field through which material, space and experience are brought into relation. Across the practices of Andrew Browne, John Nixon, Lachlan Stonehouse and Shuhei Fukuda, silver is approached not as a shared aesthetic but as a conceptual proposition. It reflects, absorbs and transforms. It carries associations of industry and technology, ritual and ornament, the celestial and the everyday. Simultaneously reflective and elusive, silver resists certainty, continually returning the viewer to the act of looking itself. Lachlan Stonehouse (b.1999) similarly examines the fundamental structures of painting through the language of repetition, pattern and the grid. Drawing upon the legacies of Modernism, Minimalism and Post-Minimalism, his meticulously constructed surfaces merge hand-made and fabricated processes to produce optical rhythms that shift with changing light. The reflective qualities of silver heighten these perceptual effects, activating the surface as something continually experienced rather than simply observed. (Extract - full essay available on our website) Aaron Martin, 2026 Pictured: Lachlan Stonehouse Happiness Machine 2026 87 x 87 cm oil, cotton webbing, calico, thread, steel bolts, stainless steel frame Credits: Fabrication technical Assistance: Karin Otto Melbourne Sewing All images by @simonjstrong @lachlanstonehouse Andrew Browne appears courtesy of Tolarno Galleries, Melbourne John Nixon appears courtesy of the Estate of John Nixon and Anna Schwartz Projects, Melbourne For a catalogue of available works contact Missy at info@fivewalls.com.au @missy_u_ taken in Five Walls by @five_walls
3
2 months ago
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