Bridget Moser’s performance and video work is suspended between internally voiced conundrums, stand-up comedy, experimental theatre, performance art, and prop comedy, with a continuous slippage from one state to another. In this in-betweenness a certain absurdity materializes, questioning a world of assumptions and belief systems.


Michael Vickers' works sit between painting and sculpture, in prioritizing their object-hood physical struggle becomes manifest, highly industrialised materials are folded, pushed and beaten into other forms acknowledging the precarity of their formation and labour.


Nikki Woolsey coalesces distinct everyday found materials into sometimes seamless yet habitually unfamiliar forms. Broken vases, glass panels, and other quotidian objects seep into abstraction, questioning how we perceive objects and place value, and disrupting existent systems of knowledge.