Bus Exhibits,
Bus Publishes,
Bus Listens,
Bus Projects

Bus Projects is currently closed.

We will reopen in our new space at the Collingwood Arts Precinct in March with our first round of exhibitions, a solo show by Moorina Bonini, a curated exhibition by Bianca Winata with Yaya Sung and Eugenia Lim, alongside the ‘Housewarming’ event series. Click through to our current website here.

We look forward to welcoming you to our new gallery in 2020!

Bus Projects acknowledges the traditional custodians of the land on which we operate: the Wurundjeri people and Elders past and present of the Kulin nations.

Bus Projects is supported by the Victorian Government through Creative Victoria and by the Australian Government through the Australia Council, its arts funding and advisory body. Bus Projects' 2017–19 Program is supported by the City of Yarra. Identity, Public Office

Bus Proj–


"26 Colours"
Claire Mooney

Opening: Tuesday 26 April, 6-8pm
Dates: 26 April-14 May 2005

Through my work I explore overlapping ideas relating to text and textiles, encoding and craft, pattern and abstraction.
A structure of colour-coded language is layered within the works, woven through with sampled text, looping threads and retinal references to entwining warp and weft. The work presents a laborious, rhythmical method of both construction and destruction and the resulting surfaces build an almost textile-like quality, as well as hinting at an obsessive, compulsive motivation.

Common to all works is a processing of information, both visual and textual. These processes translate samples of text and image; distancing segments from their sources; emptying them out and reconfiguring them. Text is used to generate coloured patterns through a process of pseudo-encryption; 13 colours for 26 letters. Splinters of words are enlarged and transferred to the surface, only to be redacted; rhythmically erased by ‘coded’ paint.

The artworks weave together what is, and what isn’t left behind, shifting between the negative and positive. They reveal themselves and their own mechanics and correspondences of making, yet remain elusive. The transparency of making, the revealed processing system, strains against a visual abundance and the ambiguity of multiple shapes and surfaces.