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Sue Cramer

@susecramer

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** Upcoming… DAVID PALLISER Unless it happened elsewhere Opening 6-8pm Thursday November 19 2026 Preview Week November 12-18 November 12 - December 19 2026 Jacob Hoerner Galleries First Floor Pleysier Perkins 89 Wellington St StKilda Australia 3182 Open 11-5 Thu-Sat & by Appt - Unless it happened elsewhere DAVID PALLISER Since completing his Bachelor of Fine Art at RMIT (1980) & then his Post Graduate Diploma from VCA (1982), Palliser has had over 30 solo exhibitions, participated in close to 40 group exhibitions & has been included in 11 Institutional exhibitions including in Melbourne Now at the National Gallery of Victoria (2013). Palliser’s work has been shown at various Art Fairs on numerous occasions inc the Melbourne Art Fair (2022, 2020, 2010), Spring 1883 (2021, 2018), Sydney Contemporary (2019) & the Korean International Art Fair (2011). Palliser is represented in the collections of National Gallery of Victoria, National Gallery, of Australia, Artbank, Mornington Peninsula Regional Gallery, Horsham City Art Gallery, Australian Taxation Office, Macquarie Bank, John McBride Collection, Phillip Morris Collection as well as numerous Private Collections in Australia and the UK. ‘Unless it happened elsewhere’ (2026) will open on November 12 for a Preview Week prior to the Official Opening that will take place from 6-8pm on Thursday November 19 2026, the exhibition will then continue until Saturday December 19 2026. ‘Unless it happened elsewhere’ (2026) PDF Catalogue Available by Request 🔖 Jacob Hoerner Galleries First Floor Pleysier Perkins 89 Wellington St St.Kilda Australia 3182 Open 11-5 Thu-Sat & by Appt For Further Information DM / info@jacobhoernergalleries.com +61 (0) 412 243 818
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John Nixon | EPW: Silver | 28 August - 3 October 2026 Final week to view Silver Monochrome (Briar Hill), 2004 Enamel paint on hessian on plywood 900 x 600 mm 📷 @samuel_hartnett #johnnixon #tworoomsgallery
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John Nixon | EPW: Silver | 28 August - 3 October 2026 “The glimmering surfaces in these paintings might, if we allow it, bring to mind the infinity of the cosmos (a connection made explicit by a collage in the exhibition), or the flash of sunlight on snow. The latter evocation takes on particular meaning in light of Nixon’s love of the Alpine landscape. Such associations arise through poetic suggestion while retaining the force of abstraction. As Nixon simply put it, ‘The task is to make dynamic artworks, to challenge and excite the viewer’.” Excerpt from essay by Sue Cramer, August 2026 Untitled, 2008 Mixed media collage 📷 @samuel_hartnett #johnnixon #tworoomsgallery
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John Nixon | EPW: Silver | 28 August - 3 October 2026 Silver Monochrome, 2005 Enamel paint on wood and dowel on MDF 600 x 900 mm #johnnixon #tworoomsgallery
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John Nixon | EPW: Silver | 28 August - 3 October 2026 Begun quietly in 1995 alongside his more widely known orange paintings, John Nixon’s EPW: Silver developed over the following decade and a half as an equally sustained inquiry into the monochrome, and as a second one-colour subset of his broader Experimental Painting Workshop. If orange was, for Nixon, ‘bright, uplifting and open to a range of associations’, silver was something more enigmatic: ‘opaque and reflective, a non-colour in the sense that we know colours to be’ , though as he said: ‘both silver and orange are full energy and light’ . Excerpt from essay by Sue Cramer, August 2026 📷 @samuel_hartnett #johnnixon #tworoomsgallery
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John Nixon | EPW: Silver | 28 August - 3 October 2026 Full documentation and essay by Sue Cramer now online. “A central inspiration for this body of works was the lively play of sunlight across silver-painted industrial roofs, which Nixon saw through a fellow artist’s studio window in a New York high-rise building. This encounter from 2001 affirmed for him the strength of silver as an alternative to orange. ‘ I noticed the rooftops had been recently repainted with silver paint. The paint was thick and dense to waterproof the surfaces over many years. The sight was visually impressive as the sun shone on the rooftops covering the city blocks below.’ “ Sue Cramer, August 2026 #johnixon #tworoomsgallery
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30 at last 🎀
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John Nixon | EPW: Silver | 28 August - 3 October 2026 Opening preview | Thursday 27 August | 5.30-7.30pm Begun in 1995, John Nixon’s EPW: Silver developed over the following decade and a half as a sustained exploration of the monochrome, materiality and light. In Nixon’s words, ‘silver is opaque and reflective, a non-colour in the sense that we know colours to be’. Inspired by sunlight playing across silver-painted industrial rooftops, these paintings situate Nixon within an orbit of modernist experiment—Constructivism, Minimalism, the ZERO group and Fontana’s Spatialism. From tactile effects on rough hessian to smoother applications on MDF and canvas, their glimmering surfaces might evoke the infinity of the cosmos or the flash of sunlight on snow, while conveying above all the pure force of abstraction. Sue Cramer, August 2026 John Nixon Silver Monochrome, 2004 #johnnixon #tworoomsgallery
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- Continuing today is Silver, including these significant works by John Nixon. 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. For John Nixon (1949–2020), whose lifelong investigation of the monochrome remains a significant contribution to Australian abstraction, colour functioned as a point of departure rather than conclusion. His practice sought to reduce painting to its essential conditions, stripping away narrative and representation to reveal the possibilities of material, form and process. Through his rigorous yet experimental approach, Nixon explored the monochrome as both an idea and an ongoing field of enquiry. Silver extends this investigation, occupying the fertile space between neutrality and luminosity, where colour becomes not an image, but a proposition — a way of thinking through the fundamental conditions of art itself. (Extract - full essay available on our website) Aaron Martin, 2026 All images by @simonjstrong Andrew Browne appears courtesy of Tolarno Galleries, Melbourne John Nixon appears courtesy of the Estate of John Nixon and Anna Schwartz Projects, Melbourne @annaschwartzprojects For a catalogue of available works contact Missy at info@fivewalls.com.au - John Nixon Silver Monochrome (Briar Hill) 2003 enamel paint on hessian and MDF 51 x 51 x 3 cm courtesy of the Estate of John Nixon and Anna Schwartz Projects, Melbourne - John Nixon Silver Monochrome 2005 en
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Join us from 11am on Sunday 8 March to mark the closing of our current exhibition John Nixon: Song of the Earth 1968–2020. We will be celebrating the artistic life and experimental spirit of John Nixon with an afternoon of music. Admission included with museum entry. Tickets available via the link in our bio. Program: 11 am Domenico de Clario: seven songs for john 11.45 am David Chesworth: Fun Machine Dirges 12.30 pm The Donkey's Tail: Reassembled for John Led by David Palliser, with John Bartley, Isabella Darcy, Laura Delaney, Anna Ephraim, Maeve Ephraim-Taylor, Ljiljana Green, Jacqueline Stojanović and Warren Taylor. Song of the Earth closes on Monday 9 March 2026. Images: John Nixon, The Donkey’s Tail, Melbourne Art Theatre, 2019, photograph: Yanni Florence.
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As an artist and thinker, John Nixon (1949–2020) had a profound and lasting influence on the philosophy and decision-making of The Chartwell Project. Over the course of decades of exhibition-making, he engaged deeply with the relationship between art and thought. This sustained inquiry is demonstrated in Song of the Earth 1968–2020, a major survey of Nixon’s career curated by Sue Cramer and Melissa Keys at the Heide Museum of Modern Art—now in its final weeks. The exhibition opens with Nixon’s minimal and conceptual work from the late 1960s and 1970s, then moves to his striking 1980s installations, which combine paintings with readymade objects, and concludes with the final decades of his life, marked by ongoing experimentation. In 2014, Nixon generously gifted more than fifty artworks to The Chartwell Collection. Scroll across to view a selection of his Chartwell works, or visit Chartwell.org.nz to explore the full collection. Rob Gardiner wrote in 2018 for the Auckland Art Gallery Toi o Tāmaki exhibition John Nixon: Abstraction: “In Nixon’s work, truth to materials is paramount, revealed through a process of open, honest, participatory disclosure. The objects must feel good about themselves as they are encouraged to show their nature within a poetic gestalt of stacked, collaged, composed and coloured elements. No illusions here, no false news, no guile. The literal reigns over the literary and thing-ness is praised as hands play and elements respond. The absolute outcome is close to drawing used as a direct recording tool where mediums are a prominent part of the message: disclosure of process is clear and sentient, aesthetic experience is paramount. Each work acts as a service station to fuel the generative thinking potential in every viewer.” John Nixon: Song of the Earth 1968–2020 Heide Museum of Modern Art, Bulleen, Melbourne 26 November 2025 – 9 March 2026 📷 Image captions in the comments
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It’s impossible to convey the enormity of emotion present around Dad’s current retrospective at Heide, ‘John Nixon: Song of The Earth 1968-2020’ It has been an incredible journey to watch my Mum Sue in this act of devotion to Dad as both an artist and a husband. Her level of rigour, obsession, intellect and love astounds me. It is a big moment for our little family. The exhibition encompasses the singular vision of Dad’s first block painting aged 19, to his heartbreakingly beautiful last works titled ‘The Finale’, and all the colourful, poetic, hardcore, joyous experimentation in between. Dad’s energy is so alive and present in these rooms. I am endlessly indebted to Jacqui, Issi, Amalia and Justin who have assisted Sue with the exhibition, the estate and to organise the studio in ways Dad never could have imagined. Thank you to Heide Director Lesley Harding and Senior Curator Melissa Keys for giving us the opportunity to fulfill this lifelong wish of John’s and to honour his oeuvre five years after his death. Huge thanks also to the whole Heide team and install crew. Please please visit, we are so thrilled and honoured to share such an important selection of his work with you all. The exhibition ends on March 9th. Beautiful install shots by Christian Capurro - which I will be looking at lovingly forever.
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