Kate Tucker works across painting and sculpture, combining various media in a manner that subverts expected order. Materials are manipulated so as to maintain a rawness and familiarity whilst taking on foreign characteristics. Tucker’s recent painting and sculpting process has shifted towards building slab-like substrates through repetitive layering of materials. Based in Melbourne, her recent projects include solo exhibitions at Daine Singer, Galerie Pompom and Chapter House Lane and group exhibitions at NADA New York, Sutton Projects, Dutton Gallery and Caves. Tucker has been a finalist in the Arthur Guy Memorial Painting Prize, Geelong Contemporary Art Prize, The Substation Prize, Albany Art Prize, Bayside Acquisitive Art Prize, The Churchie Emerging Art Prize, Geelong Acquisitive Print Awards, and The Archibald Prize. She graduated from the Victorian College of the Arts in 2009.

Katie West belongs to the Yindjibarndi people of the Pilbara tablelands in Western Australia. The process and notion of naturally dyeing fabric underpin her practice – the rhythm of walking, gathering, bundling, boiling up water and infusing materials with plant matter. Katie creates objects, installations and happenings, that invite attention to the ways we weave our stories, places, histories and futures. Katie also shares a collaborative project with artist and writer Fayen d’Evie entitled Museum Incognita. Sparked by asking what forms a decolonised museum may take, Museum Incognita revisits neglected, concealed or obscured histories and activates embodied readings of place.
Selected exhibitions include: Radical Ecologies, PICA, Perth WA; Roll on, Roll on, Phenomena (until you are no more), curated by Eloise Sweetman, Jan van Eyck Academy, The Netherlands; Warna (ground), Caves Gallery, Melbourne VIC; wilayi bangarrii, wanyaarri (go for a walk, listen), Dominik Mersch Gallery, Sydney NSW; Installation Contemporary, Sydney Contemporary 2019, Carriageworks, Sydney NSW; Clearing, TarraWarra Museum of Art, Healesville VIC.

Polly Stanton is an artist and filmmaker. Her films and installations focus on contested sites and extraction zones, presenting landscape as a politically charged field of negotiation, entangled with history, technology and capital. Polly’s mode of working is expansive and site based, with her practice intersecting across a range of disciplines from film production, sound design, writing and publication. She has exhibited widely in both Australia and overseas, and has been the recipient of numerous grants and Artist-in Residence programs. Recent screenings and exhibitions include Metro Arts (Brisbane), City Gallery Wellington (NZ), RMIT Design Hub (Melbourne), Alchemy Festival (UK), Mildura Art Centre (Vic) and May Space (Sydney).


Arini Byng is an artist who makes body-based work. Born on Gadigal land, she is of Lenape, African American and Anglo-Celtic descent. Arini works with the affective qualities of materials, gestures and settings — undertaking exercises in image, movement and form to negotiate political scenes. Arini’s performances and videos are complex, intimate studies in gesture and action. Her work has been exhibited nationally including Blak Dot Gallery, Watch This Space, Neon Parc project space, MPavilion, c3 Contemporary Art Space, Blindside, Bus Projects, Margaret Lawrence Gallery, The Australian Centre For Contemporary Art, and The Centre for Contemporary Photography; selected works published by Perimeter Editions, Higher Arc, Le Roy and Photofile; and with work held in publication collections of V&A, MoMA, MOCA and Tate Modern. Arini lives and works in Naarm (Melbourne) on the unceded sovereign lands and waterways of the Boon Wurrung and Woi Wurrung (Wurundjeri) people of the Kulin Nation.


Snapcat is an artistic collaboration between Renae Coles and Anna Dunnill. Ongoing themes of investigation include feminism, protest, survival and bravery, and projects have often taken place in outdoor public spaces, on bikes, football fields or in the form of protests and parades. Snapcat has presented work with Cool Change Contemporary (2020), Co-mmotion, Brisbane City Council’s Temporary Art Program (2018), John Curtin Gallery (2018), Perth International Arts Festival (2017), Perth Institute of Contemporary Art (2015), Fremantle Art Centre (2014) and more. Snapcat’s performance work The Lightning Furies, presented at Newcastle’s This Is Not Art (TINA) Festival, was listed in The Guardian as one of Australian theatre’s “10 most groundbreaking shows by women” in 2016.


Anna Dunnill is an artist and writer based in Naarm (Melbourne), and is one half of Snapcat. Her current research explores prayer and ritual through textile processes, including weaving, spinning and dyeing. She has held solo exhibitions at Front/Space (Kansas City, USA), Blindside ARI (Melbourne), Verge Gallery (Sydney) and FELTspace (Adelaide). Anna is a print editor of Art Guide Australia, and her writing has appeared in Art+Australia online, un magazine, Runway, Semaphore, and The Toast, among others. In 2019 she completed an MFA (Visual Art) at the Victorian College of the Arts.


Renae Coles is a Sydney-based artist and arts communicator, and is one half of Snapcat. She currently has a textile-based practice exploring histories of craft and women’s work through embroidered drawings and stitched sculpture. Passionate about craft and design, she completed a Graduate Diploma of Design at UNSW Art and Design in 2018. Renae works full time as Marketing and Communications Officer at the University of Sydney’s new Chau Chak Wing Museum.