Instagram story viewer> @moorecontemporary> Tagged
MOORE CONTEMPORARY(@moorecontemporary)'s profile avatar HD Profile

MOORE CONTEMPORARY

@moorecontemporary

4.6K
followers
1098
following
Art Gallery - Contemporary Art
POSTS STORIES REELS TAGGED
For more than a decade, @johnyoungstudio has been working on his ‘Fairweather Transformations’: one-to-one abstract interpretations of paintings by the late Ian Fairweather. Although the two artists never met, Young has long been interested in their similar experiences of living and working across cultures. This Saturday, Young is giving a talk about the series at @tarrawarrama, which is currently showing Young’s latest responses to Fairweather in the exhibition ‘Inside the Mirage’. I was lucky to interview Young for @artguideau as he prepared for the exhibition and talk. You can read the article at the link in my bio 🎨 • 2. ‘After Fairweather III’ (2026) by John Young 3. ‘Mangrove’ (1961-62) by Ian Fairweather and ‘Fairweather Transformations: The Chinese Room’ (2022) by John Young 4. ‘Temple, Peking’ (1936) by Ian Fairweather 5. ‘After Fairweather II’ (2026) by John Young • #johnyoung #ianfairweather #painting
6
Download
Lisa Wolfgramm @moorecontemporary part of the current exhibition Light Touch on until 25th July. ❤️
1
Download
12
Download
Relational Painting No. 32, 2026 quilted aniline goat leather 45 x 30 x 5 cm Relational Painting @moorecontemporary 📷 1: Nick FitzPatrick @nick___fitzpatrick 📷 2: Lucy Dawkins @luludelieu #caitlinyardley #relationalpainting #installationview
0
Download
KONSTTIPS: Tove Kjellmark skulptur i Perth, Australien #repost • @tovekjellmark The most naked, fragile and truthful piece of the collection—and the one I still can’t stop loving♥️. • @moorecontemporary SUNDAY STOCKROOM TOVE KJELLMARK Come as you are, 2025 bronze 23 x 21 x 19cm #bronze #sculpture #backflip #contemporaryart tovekjellmar
2
Download
Relational Painting No. 25, 2026 quilted aniline goat leather 70 Ø x 4 cm Relational Painting @moorecontemporary 1–30 May Photo: Lucy Dawkins @luludelieu #caitlinyardley #relationalpainting
2
Download
Installation views of ‘Relational Painting’ at Moore Contemporary, Boorloo/Perth. Image 1: Installation view Image 2: Relational Painting No. 18, 2026, quilted aniline goat leather, galvanised steel, 136 x 98 x 5 cm Image 3: Relational Painting No. 17, 2025, quilted aniline goat leather, 35 x 25 x 5 cm Caitlin Yardley Relational Painting Moore Contemporary, Boorloo/Perth 1–30 May 2026 Catalogue available via link in bio, with an essay by Katrina Schwarz. Photos: Nick FitzPatrick Images courtesy of MOORE CONTEMPORARY @moorecontemporary @nick___fitzpatrick @katrinaschwarz9 #caitlinyardley #relationalpainting #installationviews
4
Download
Installation views of ‘Relational Painting’ at Moore Contemporary, Boorloo/Perth. Caitlin Yardley’s ‘Relational Painting’ begins with a return. In 2017, her project ‘Mobile Composition’ reconvened a now-dispersed art collection at Maison Louis Carré through a series of placeholders made in quilted black goat leather, restaging archival photographs and a specific choreography of installation. One of these proxies marked the absence of Fritz Glarner’s Relational Painting No. 62 (1953), carrying forward only its title and scale. Here, Relational Painting No. 62 functions as a link between this earlier investigation of modernist interiors, collections and loss, and one in which ‘relational painting’ becomes an ongoing material practice. The work unfolds through assembly, bringing fragments into relation through alignment and misalignment, where meaning is contingent and produced through proximity. Installed as a constellation, the relational extends into display, insisting that meaning forms between things rather than within them. Caitlin Yardley Relational Painting Moore Contemporary, Boorloo/Perth 1 - 30 May 2026 Catalogue available via link in bio, with an essay by Katrina Schwarz, Curator, Whitechapel Gallery. Photos: Nick FitzPatrick @nick___fitzpatrick Images courtesy of MOORE CONTEMPORARY @moorecontemporary @katrinaschwarz9 #caitlinyardley #relationalpainting #installationview
3
Download
Huge thanks to @katrinaschwarz9 for writing on my exhibition Relational Painting at @moorecontemporary I deeply value Katrina’s continued engagement with the work and the generosity and precision of her writing. The essay traces the movement between my earlier project Mobile Composition, the dispersed collection once held at Maison Louis Carré, and this new body of quilted leather and steel works. “Caitlin Yardley’s Relational Painting begins with a return that is also a coincidence. This exhibition is the sixty-second presented by Moore Contemporary, echoing the title Relational Painting No. 62 (1953) by Fritz Glarner - a work with some history within Yardley’s practice. Such alignments are not treated as symbolic conclusions but as generative moments. Yardley often allows chance correspondences - between numbers, forms, materials and histories - to remain active, producing connections that are both discovered… and pursued.” - Excerpt from ‘In Relation’ by Katrina Schwarz, Curator, Whitechapel Gallery. Relational Painting Moore Contemporary, Boorloo/Perth 1 - 30 May 2026 Photography: Lucy Dawkins @luludelieu #caitlinyardley #relationalpainting #moorecontemporary
6
Download
A small selection of exhibitions we think are worth stepping out for, before time inevitably runs out on us all. 💥 @amalialindo’s 𝘣𝘰𝘵𝘩/𝘢𝘯𝘥 presents a new body of work resulting from ten months of research in the Atacama Desert, Chile. The exhibition traces the relationship between landscape, extraction and technological production across sculpture, drawing, photography, video and installation. Her first solo exhibition with @haydens.gallery (Naarm/Melbourne) is on now, with a closing performance this Saturday, 30 May. 💥 𝘚𝘬𝘪𝘯 𝘢𝘧𝘵𝘦𝘳 𝘚𝘶𝘤𝘤𝘦𝘴𝘴𝘪𝘷𝘦 𝘚𝘬𝘪𝘯 by @ellewickens at @amesyavuz (Gadigal Country/Sydney) until 20 June. The exhibition is born of a story of feminine transformation, rebirth and embodiment; a story that led the artist to imagine how the felt language of the body can be recorded through material, how sensation can paint, and how painting itself speaks of, from and to the body. 💥 In 𝘛𝘩𝘦 𝘐𝘯𝘵𝘦𝘳𝘪𝘰𝘳 𝘐𝘐, @n.smithgallery (Gadigal Country/Sydney) brings together a group of artists whose practices move through the space of the interior, both as a physical environment and as a psychological condition. Here, the interior is not fixed, but shaped by memory, perception, and lived experience. Ends this Saturday, 30 May. 💥 @caitlin_yardley_’s practice is one of assembly – fragments brought into relation through alignment and misalignment. Installed as a constellation, 𝘙𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘢𝘭 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 insists that meaning forms between things rather than within them – held, if only temporarily, through attention, care and structure. Currently exhibiting at @moorecontemporary (Boorloo/Perth) until 30 May. - Images: 1. Amalia Lindo, El Tatio (−22.3349, −68.0130) (detail), 2026, Archival inkjet photograph, framed, 156 × 105 × 6 cm, E 1/5 + 2 AP. 2. Elle Wickens, Her Cluster of Eggs Swell Like Cysts, 2026, Oil on Poly Cotton, 183 x 136 cm. 3. Joan Ross, M’Lady Ikebana, 2015, hand-coloured pigment print on rag paper, 91 x 71 cm / 109.5 x 90.5 x 4 cm (framed), edition of 5 + 2 AP. 4. Caitlin Yardley, Relational Painting No 22, 2026, quilted aniline goat leather,  40 x 25 x 5cm. Photo credit: Lucy Dawkins.
5
Download
Goat leather is not just a surface, it has memory and a grain. It has a kind of stretch and resistance that is different from canvas but also a heightened vulnerability. When you quilt with it, you become aware that it is both tough and tender. It holds light in a particular way, it is matt but not lifeless. It also retains the fact of having once been a body. This brings something intense and deliberate to working with it. I have thought of goat leather as a material link to peripheral vision within my practice for many years - informed by the goat’s unusually wide field of vision. This idea acknowledges that the connection between things is not always obvious, or even real, but becomes real because I am holding both in view at once. Many of my projects are built on this, through proximity or through the collision between one history and another. Image 1: This photograph of a goat moving through a fence has been in my studio for over 14 years. I used it on the invitation for my exhibition Peripheral Orbit in London (2012), where goat first appeared as a material within an installation developed while researching Anna Freud at the @freudmuseum I no longer remember where I originally found the image. Image 2: Relational Painting No. 62, 2017, quilted aniline goat leather, 109.5 x 82 x 5 cm. Photo by Lucy Dawkins Relational Painting @moorecontemporary 1-30 May #caitlinyardley #relationalpainting #goat
0
Download
📣 Melbourne Art Fair is excited to announced the appointment of six new members to the Melbourne Art Foundation Board: Kate Dinon, Charlotte Day, Margaret Moore, Viktor Kravchenko, Sarah Murray and James McGrath. Joining the Foundation at an important moment of growth and evolution, the new Directors bring expertise spanning contemporary art, gallery leadership, cultural institutions, brand strategy, and the broader creative industries. Together, their combined experience and networks will strengthen the Foundation’s capacity to support artists, galleries, and audiences through ambitious programming, strategic partnerships, and the continued evolution of Melbourne Art Fair. Welcoming: • @katedinon, Partner at Character + Distinction @character_distinction
• Margaret Moore, Founder and Director, @moorecontemporary
• Charlotte Day, Director, @pottermuseum and @buxton_contemporary 
• Viktor Kravchenko, Co-Founder and Co-Director, @nasha.au
• Sarah Murray, Associate Director, @niagaragalleries
• James McGrath, former Creative Chairman, @clemenger_bbdo The Foundation also extends its sincere thanks to outgoing Board Members Joanna Strumpf, Andrew Jensen, and Nicholas Thompson for their valued contribution and support. Melbourne Art Fair is owned and operated by Melbourne Art Foundation.
28
Download
back to up