Moore Contemporary

ON VIEW NOW

ERIN COATES - GHOST SPECIMEN

Thank you to all who joined us to celebrate with ERIN COATES for the launch of her solo exhibition. All new works comprising suspended and wall sculptures and this special suite of box framed paintings on panel. Ghost Specimen I - XVII, 2026

CONGRATULATIONS Erin on an exceptional body of work.

DM or Email: [email protected] for catalogue with introduction and works list.

COMING SOON
ERIN COATES ‘GHOST SPECIMEN’

MOORE CONTEMPORARY is delighted to announce the forthcoming solo exhibition ‘Ghost Specimen’ by ERIN COATES, 19th September - 24th October.

Erin Coates’ imaginative extrapolation from research to the poetics of art is in full force in Ghost Specimen. A sense of the spectral and slippage pervades the exhibition, yet this new body of work is rich in its offering of a sense of possibility of what knowledge and what transformations might engender. She creates intrigue and beauty in the flawed, the hybrid, the speculative.

The exhibition comprises a suite of seventeen paintings on board and several sculptures in materials such as bronze, silicone, mohair, resin. This exciting and anticipated work emanates from a museological encounter with the specimen of an extinct marsupial, Chaeropus yirratji, a species of pig-footed bandicoot that remained misidentified until nearly 70 years after its disappearance. During a residency at the Western Australian Museum, Coates was able to view the skull and bones of Chaeropus yirratji and consult with Curator of Mammalogy, Dr Kenny Travouillon.

Coates’ heightened curiosity into marine sciences, ecology and faunal remnants is in part attributable to her upbringing within a seafaring family in Albany and the free-range qualities that proximity to ocean and landscape brought. Fundamental life themes of human and environmental frailty endure in her work and so too does an optimism for the powers of regeneration and transformation. Her art often stems from an immersion - be it field research, a residency or, more literally, her own physical pursuits of free diving and climbing.

In ‘Ghost Specimen’ submerged histories and obscured memories are brought into an exhibition that is vitally present.

‘Ghost Specimen V’, 2026
gold leaf, bronze powder, watercolour, acrylic, graphite on board
33 x 25cm framed

‘Auricle’, 2026
bronze, black resin, gold chain
52 x 9 x 5cm

‘Ghost Specimen’ III’, 2026
watercolour, acrylic, graphite on board
33 x 25cm framed

Images courtesy the artist and MOORE CONTEMPORARY.

In the foreground:

TOVE KJELLMARK
‘Chimera’, 2025 #
paper clay, watercolour, putty, PLA, MDF
65 x 43 x 32cm

In the background:

PILAR MATA DUPONT
‘The Madman is a Dreamer Awake’, 2013-15
Giclée Prints
80 x 120cm framed
Ed 5

Enquires: DM or Email: [email protected]

ON VIEW in ‘Undying’ by ABDUL-RAHMAN ABDULLAH at Griffith University Art Museum.

detail: ‘Rabbit (Preparation)’, 2026
Painted wood
17 x 31 x 12cm

📸Courtesy Chau Chak Wing Museum

Inspired by research into museum archives and specimens, ABDULLAH has produced a major solo exhibition exploring notions of perpetuity - “to imagine the passage of life, death and whatever comes next, and look for ways to describe forever.”

Mummification - being a means of preservation, offering, companionship or food supply - this sculpture in wood of a bandaged rabbit captures a moment of stasis that looks remarkably alive.

A full list of works on view is available:

Email: [email protected]

Visit Griffith University Art Museum

NEWLY COMPLETED AND INSTALLED.

LISA WOLFGRAMM
‘Float’, 2026
oil on linen
36 panels each 45.72 x 45.72cm
Overall 139.16 x 559.64cm
Commissioned by INPEX Art Program Perth.
📸: Joel Barbitta, DMax Photography 2026

Congratulations to artist Lisa Wolfgramm on the completion of a major painting commissioned for INPEX Australia headquarters.

Fulfilling a location requirement and brief, ‘Float’ is an expansive contemporary reflection upon the celebrated woodblock prints Thirty-Six Views of Mount Fuji (c.1831) by Ukiyo-e print master Katsushika Hokusai. The highly recognised and loved image of The Great Wave off Kanagawa, within this series by Hokusai, was one departure point for the conception of ‘Float’.

It is also a tribute more broadly to the Ukiyo or ‘Floating World’ period in picture-making. Significantly with the use of diagonals to create a new type of spatial order that later proved to be an important influence on the artists of the Impressionist and Post-Impressionist periods, and additionally the blue and white palette. Access to new pigments at that time, especially Prussian blue allowed for a wider tonal range where previously prints were made in black and white.

Committed to non-figurative painting, Wolfgramm created this tableau employing her fluid technique of translucent and opaque application over block colour.

CONGRATULATIONS to ERIN COATES on bringing to fruition her residency with Albany’s Historic Whaling Station into an exhibition, and additionally an intervention in the building unceremoniously known as The Cutting Up Deck.

Erin has drawn upon her own family seafaring upbringing in Albany, her personal experience in diving, natural and marine ecologies and the whaling history to create a project of reflection and regeneration.

In September Erin will present a new body of work in the Gallery in a solo exhibition at MOORE CONTEMPORARY. 👌

OPENING THIS WEEK at Griffith University Art Museum.

‘UNDYING: ABDUL-RAHMAN ABDULLAH

As described by the Artist. He presents a “room full of stories without end”.

Inspired by museological research - specifically with the collection at Chau Chak Wing Museum - ABDULLAH has reflected upon perpetuity.

‘I ask you to sit with the idea of perpetuity, to imagine the passage of life, death and whatever comes next, and look for ways to describe forever. I came here to find stories about animals. We wake, sleep and wake again among the immeasurable sentience of the natural world, yet another species sharing a finite planet. We belong to it…”

Images:

‘Fox (preparation), 2026
painted wood
18 x 67 x 18cm

‘Exempli Gratia, 2026
painted jesmonite
300 birds, dimensions variable
100 x 300cm as installed in the detail and full image.

On view Griffith University Art Museum

13th August - 14th November 2026

SUNDAY STOCKROOM

JOHN YOUNG
‘Aeneid I (Fairweather Transformation VII)’ 2016
oil on Belgian linen
200 x 200cm

An exceptional large scale painting from the significant series whereby the artist reflects upon the practice of Ian Fairweather ( 1891 - 1974 ), and in tribute reimagines his work with the technical assistance available in the digital age and inherent to Young’s own painting methodology.

“…daily in the studio, I employ a process of transforming by computer software, thousands of photographic and painting images into new abstract images. One abstract image is then selected out of the thousand which is faithfully and affectionately painted up with oil paint. I have called this Human-Computer Friendship paintings!

This way of abstracting images is my way of coping with the exponential growth of choice in this century. In Fairweather’s time, artists may have a thousand abstract drawings they make in a lifetime, we can have apparently this overnight.

Here, Pellets et Melisande by Fairweather is the subject of this process. Fairweather is without doubt the greatest artist from the Antipodes, his trans-national wanderings finally found a home in Bribie Island. The singularity and grandeur of Fairweather’s hermit-wanderer life, and the authenticity and resonance of his work are what is
most vulnerable to extinction. These new transformational works are a hope, a sort of attempted resurrection of what we may hold dear with the spirit of Fairweather’e work - the new paintings faithfully fossick for worthy reminiscence in Fairweathers for this new century.

Albeit the fact that we live amongst the banalities of technology in this century, together with its desensitised noise, these new paintings, mediated by the computer, re-imagine Fairweather’s eyes for us, and proposes a way of making painting by humans, re-thought and re-felt. Re-thought as it’s the Fairweather image that passes through Hade’s underworld - computer imaging, yet re-felt, by the affectionate repainting, by our human hands. Aeneas, the title of these paintings, cites Seamus Heaney’s account of Virgil’s Aeneid, in which Aeneas travels to the underworld to meet the spirit of the father. “