Bus Exhibits,
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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–


"The Matryoshka Principle"
Catherine Bourne, Nick Pensa, Rehgan de Mather, Natasha Sutila, Darren McCrann, Victoria Lee, Celeste Potter, Ben Morley, Matthew Stanton, Maria-Luisa Marino
Curated by: Catherine Bourne, Nick Pensa

Opening: Tuesday 29th April 6-8pm
Dates: 29 April-17 May 2008

'The Matryoshka Principle' brings together ten local visual artists and ten sets of blank Matryoshka dolls at Bus Gallery.

A set of Matryoshkas consists of a wooden figure which can be pulled apart to reveal another figure of the same sort inside. It has, in turn, another figure inside, and so on. Matryoshkas are often designed to follow a particular theme, for instance peasant girls in traditional dress, but the theme can be almost anything, ranging from fairy-tale characters to Soviet leaders. They are also used metaphorically, as a design paradigm, known as the matryoshka principle, or nested doll principle. It denotes a recognisable relationship of “similar object-within-object” that appears in the design of many other natural and man-made objects.

As a basis and as a starting point for their work, the artists have taken inspiration from the historical, cultural and metaphorical content of the artefacts, and have developed their Matryoshka sets into personal responses. Artists were encouraged to be innovative, with the only parameters being the doll as canvas, the aim being to explore a range of themes and experiences through the vehicle of the doll.