See more from our artists
Jacquie Meng, Andjana Pachkova, Lucy Chetcuti, Denis Clarke & Andrew Sullivan
ON EXHIBITION
July 4-August 10, 2024
![Playing Fake Basketball Near the Town Hall // Claire and Genie watch me dive into Dickson Pool (diptych)](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/4717.jpg&size=550x )
Jacquie Meng
Playing Fake Basketball Near the Town Hall // Claire and Genie watch me dive into Dickson Pool (diptych), 2022
Oil on canvas
100 x 260 cm
![playing pool](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5115.jpg&size=550x )
Jacquie Meng
playing pool, 2023
oil on canvas
106 x 113 x 5.5 cm artwork, 111 x 118 x 5.5 cm framed
AVAILABLE $4,600
![inner peace](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5113.jpg&size=550x )
Jacquie Meng
inner peace, 2023
oil on canvas
119 x 85.5 x 5.5 cm artwork, 123 x 90 x 5.5 cm framed
AVAILABLE $4,000
![Castles in the Sky](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5632.jpg&size=550x )
Andjana Pachkova
Castles in the Sky, 2023
Mixed Media on Sandpaper
41 x 36 cm, Photo Standish&Co.
AVAILABLE $700
![Rock Pool Curl Curl](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5634.jpg&size=550x )
Andjana Pachkova
Rock Pool Curl Curl, 2024
Mixed Media on Board
64 x 49 cm framed, Photo Standish&Co.
AVAILABLE $2,400
![Velvet Night with White Laced Light](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5635.jpg&size=550x )
Andjana Pachkova
Velvet Night with White Laced Light, 2023
Mixed Media on Paper
51 x 43 cm, Photo Standish&Co.
AVAILABLE $800
![Intersection of something or other](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/4860.jpg&size=550x )
Lucy Chetcuti
Intersection of something or other, 2022
Oil and graphite on canvas
91 x 90 cm, Photo David Paterson
AVAILABLE $1,800
![This Frond is saying 'oooooo', that frond is like 'aahhh'](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/4861.jpg&size=550x )
Lucy Chetcuti
This Frond is saying 'oooooo', that frond is like 'aahhh', 2023
Oil and graphite on canvas
91.4 x 91.4 cm, Photo David Patterson
AVAILABLE $1,800
![Piece by piece 3](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5074.jpg&size=550x )
Lucy Chetcuti
Piece by piece 3, 2023
Oil, plaster and wax on polycotton
40.5 x 40.5 cm, Photo COTA
AVAILABLE $580
![Evans Spring](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/860.jpg&size=550x )
Denis Clarke
Evans Spring
Oil on canvas
60 x 79 cm
AVAILABLE $3,600
![Tree Form](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/1404.jpg&size=550x )
Denis Clarke
Tree Form, 2017
Oil on canvas
48 x 96 cm
AVAILABLE $3,600
![Wood and stone](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/2051.jpg&size=550x )
Denis Clarke
Wood and stone, 2015
Oil on Canvas
119 x 93 cm
AVAILABLE $4,800
![Scarlet honeyeater](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5578.jpg&size=550x )
Andrew Sullivan
Scarlet honeyeater, ND
Oil on canvas
36 x 46 cm, Image COTA
AVAILABLE $3,900
![Red Bromeliad](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5577.jpg&size=550x )
Andrew Sullivan
Red Bromeliad, ND
Oil on board
35 x 23 cm, Image COTA
AVAILABLE $2,200
![The lonely mule](https://stanleystreetgallery.com.au/thumb.php?src=https://stanleystreetgallery.com.au/images/5587.jpg&size=550x )
Andrew Sullivan
The lonely mule, ND
Oil on board
34 x 25.5 cm, Image COTA
AVAILABLE $2,600
Denis Clarke: Artist Statement & Bio
Painting for me is a bodily thing. It involves the relationship between one’s self and making contact with the tactile. Why tactile? Because I am touching materials and feeling out my experience of looking at a subject such as landscapes, people and buildings.
Drawing is the whole key. Not drawing for its own sake but drawing to explore ideas for connecting with the world. Finish is irrelevant. These drawings serve the purpose of the painting and illuminate my imagination to the possibilities of new compositions. I am interested in the physicality and directness of drawing which often finds its way into my works on paper as well as my paintings.
My interest is what I would call 'creating a process of informed experiment'. I allow myself to risk and play with media while aligning my senses with the observed. It is the otherness or feel of a subject which provides the impetus to experiment and find new solutions with mark.
For me, working before a subject is deeply complex and a chance to explore visual language. The test is to find graphic statements and abstractions which truthfully parallel perceptions and travel towards a resolved image. Previously Unseen explores my reactions and connection with the urban which has been an important aspect of my painting for many years. It is a reference to my wish to try and see the world anew.
Denis Clarke works across painting and drawing, exploring the relationship between himself, the bodily and the tactile. Interested in creating a process of informed experiment, his paintings extend conversations of subject, texture and paint fluidity that suspend perception and reality. His work layer playful exchanges between drawing and painting processes, finding new solutions with mark-making to explore the subject. Contextualised within the European neo-expressionist movement, Clarke’s colourful gestural works deconstruct improvisation, inviting new and playful languages of representation.
Clarke completed post-graduate study at St Martins School of Art, London, and received the NSW Travelling Art Scholarship as well as Moya Dyring residency at the Cite International des Arts in Paris.
Based in Sydney, he has spent periods working and studying in London and Switzerland, teaching at the Camden School of Art and the Hampstead School of Art, exhibiting at Gillian Jason Gallery, Boundary Gallery and James Colman Gallery, Knightsbridge, as well as creating set designs and costumes for the experimental Opera Factory, in Zurich and London.
Clarke returned to Australia in 1998.
He has held 17 solo exhibitions since 1975 and has collaborated with several premier arts organisations such as Opera Factory in London and Switzerland, Warwickshire Arts Festival in the UK, and most recently as the artist in residence at Wollombi Valley Arts Council. From 1999 - 2010 Denis was a sessional lecturer at the National Art School and tutor from 2011 ongoing. He also instructs master classes at Charles Sturt University, the University of Southern Queensland, the Mitchell School of Art and the McGregor School.
Clarke has exhibited in numerous Art Fairs including ‘Line Art, Ghent’, The Brussels Art Fair, The 20th Century British Art Fair, Royal College of Art, and The Islington Art Fair. His work is included in private and public collections including: the Art Gallery of New South Wales, the Fitzwilliam College Cambridge and Lloyds of London.
Clarke has been represented by Stanley Street Gallery since 2014.
Denis Clarke: CV July, 2022 Download
Education
Solo exhibitions
Group exhibitions
Please note, this is an abridged version of Denis Clarke's CV. To view the full CV (including pre. 2000), please contact the gallery.
Awards and achievements
Residencies & Workshops
Collections
Art Gallery of New South Wales, Sydney; Blackfriars Drawing Trust; The Fitzwilliam College Student Committee, Cambridge University, Cambridge, UK; General Accident Life, Headquarters, York, UK
Commissions
Grants
Reviews and publicity
Waddell, Heather, London Australia Magazine, December 1979, review of NSW House London exhibition ‘Artists of Fame and Promise’ with special mention.
Boys, Larry, Australian Women’s Weekly, 9 January 1980, colour reproduction of painting to accompany short review of ‘Artists of Fame and Promise’ at NSW House London.
Borlase, Nancy, Sydney Morning Herald, 20 June 1981, review of solo exhibition of mainly London work at The Holdsworth Gallery, Sydney.
Miles, Brenda, The Daily Telegraph, 6 June 1981, ‘Painting a message’, reproduction of two drawings and article on the artist for solo exhibition at Holdsworth Gallery, Sydney.
McIntyre, Arthur, Art and Australia, Spring Issue 1982, Exhibitions of Note in 1981, special mention.
Phillpotts, Beatrice, Arts Review, London, May 1983, review of solo exhibition, NSW House Gallery, London, May-June 1983.
Bührer, E, Schaffhauser Nachrichten, 30 July 1984, ‘Die Welt als Bild und Bewegung’, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Atelier in der Mini-Galerie, ‘Brutalität und Idylle’, SchaffhauserAZ, 30 July 1984, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Waddell, Heather, ‘Lettre de Londres’, Vie des Arts, Montreal, Winter Issue 1984/5, review of solo show at NSW House Gallery, May-June 1983.
Waddell, Heather, New Art International, Winter 1986, review of solo exhibition at DM Gallery, Dover St, London, 5 - 30 September, 1986.
Elwes, Luke, ‘Australian Art Now and Then’, Galleries, April 1988, vol 5 No 11, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Russell Taylor, John, The Times, April 19, 1988, ‘Advance Australia fair and be recognised’, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
‘Mother Earth encountered’, Hampstead and Highgate Express, April 29, 1988, review and reproduction of drawing from ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Lucie-Smith, Edward, British Artists of the 20th Century, 1989, biographical details listed.
‘Summer in all its colours’, Hampstead and Highgate Express, August 17, 1990, review of group exhibition at Boundary Gallery, London with special mention.
Lovatt, Estelle, ‘The streets of London’, Southern Cross Magazine, December 13, 19995, review of solo exhibition at James Colman Fine Art, 21 Nov - 21 Dec 1995.
Art95, ‘London Contemporary Art Fair’, Catalogue, January 1995, reproduction of ‘Still Life, Studio Corner’, 1994.
Art96, ‘London Contemporary Art Fair’, Catalogue, January 1996, reproduction of ‘Soho Siren’.
‘Denis Clarke: New Work’, catalogue of exhibition at James Colman Fine Art, 30 October - 22 November 1997.
What’s On in London, 1997, reproduction of Man on a Park Bench and caption outlining exhibition at James Colman Fine Art, 30 October - 22 November.
Waddell, Heather, London Art and Artists Guide, 1997, ‘Interview with Denis Clarke’, reproductions of paintings.
Waddell, Heather, The London Art World 1979-99, 2000, photograph of artist in studio and paintings.
The Week, 25 March 2000, ‘Where to buy’, review of exhibition at James Colman Fine Art, April 2000.
‘Powerful urban images’, Collector, Wentworth Courier, May 16 2001, reproduction of painting and review exhibition at Polly Courtin Gallery, May 2001.
Gotting, Peter, Sydney Morning Herald, May 1 2001, ‘Spotlight’, reproduction and listing of exhibition at Polly Courtin Gallery, May 2001.
Kidd, Courtney, Sydney Morning Herald, May 2001, ‘Critics pick’ listings.
Sydney Morning Herald, 2002, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, October 2002.
Sydney Morning Herald, 2004, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, March 2004.
‘Walking the Line’, National Art School Academic Staff, Exhibition of Drawing catalogue, 2005.
'Tradition and Transformation', Taiwan-Australia Watercolour Exhibition Catalogue, 2012.
Exhibitions
Jacquie Meng: Artist Statement & Bio
These paintings explore representations of personal and cultural diasporic identity, through ways of grounding and ungrounding lived experiences and embedded cultural practices. In doing so, images in forming identity are self-conceptualised and in-flux. Meng’s paintings draws together lived experiences of cultural difference with historical references to narrative and landscape painting, such as flattening of perspective and discoordination of interior and exterior spaces in Chinese silkscreen and Japanese woodblock prints. She makes reference to an array of cultural practices and artefacts, landscapes, and daily scenes- both real and imagined. For example, Playing Fake Basketball Near the Town Hall// Claire and Genie watch me dive into Dickson Pool (diptych) incorporates the landscape of Meng’s local pool with friends, but with the inserted imagery of fictional grass hills and hedges in the shape of Chinese stamps and mythology, invented cultural artefacts, door knockers, and candles. Much like the diasporic experience, the migration of humans and artefacts from one culture to another is a phenomenon that we may use to reconsider structures of power. These elements and styles are arranged in a way that reveals the influence of fragmentation from online culture and aesthetics. Through reference to real and invented ritual, these paintings consider the significance of spiritual and embedded cultural practices in determining how self-identity is formed.
Jacquie Meng (b.1998, Hangzhou) works with painting, sound, and installation. Her work redefines diasporic cultural identity beyond national and geographical specificities, rather seeing it as unfixed. Through consideration of posthumanism, performativity, and the migration of objects and imagery between cultures, Meng breaks down binaries of “East”/”West”, real/imagined, and human/non-human. This often involves a fusing of mythology and folklore with memories, fictions, and contemporary aesthetics.
Meng was awarded the Brett Whitely travelling scholarship in 2021, was a finalist in the churchie Emerging Art Prize at the IMA, and was a part of PICA’s Hatched 2022. In 2023, she completed two overseas artist residencies, at Kunstraum in New York (April-July) and Pilotenkueche International Art Program Leipzig (July-September). Meng is represented by Stanley Street Gallery
Jacquie Meng: CV April, 2024 Download
Jacquie Meng (b.1998, Hangzhou) works with painting, sound, and installation. Her work redefines diasporic cultural identity beyond national and geographical specificities, rather seeing it as unfixed. Through consideration of posthumanism, performativity, and the migration of objects and imagery between cultures, Meng breaks down binaries of “East”/”West”, real/imagined, and human/non-human. This often involves a fusing of mythology and folklore with memories, fictions, and contemporary aesthetics.
Meng was awarded the Brett Whitely travelling scholarship in 2021, was a finalist in the churchie Emerging Art Prize at the IMA, and was a part of PICA’s Hatched 2022. In 2023, she completed two overseas artist residencies, at Kunstraum in New York (April-July) and Pilotenkueche International Art Program Leipzig (July-September). Meng is represented by Stanley Street Gallery.
Education
Solo exhibitions
Two person exhibitions
Group exhibitions
Awards and achievements
Residencies & Workshops
Grants
Reviews and publicity
Exhibitions
Jacquie Meng, Andjana Pachkova, Lucy Chetcuti, Denis Clarke & Andrew Sullivan
ON EXHIBITION
July 4-August 11, 2024
Jacquie Meng, Jackson Farley, Agus Wijaya, Amy Dynan & Shaun Hayes
Sydney Contemporary 2023
September 7-10, 2023
Jacquie Meng, Neil Beedie, Claire Welch, Jemima Lucas & Brigitte Podrasky
Loss of Horizon
November 16-December 11, 2022
Lucy Chetcuti: Artist Statement & Bio
Phenomena in the natural environment or in a gallery are not altogether self-evident. Their meaning and value are not inherently pre-determined but rather, are dependent on the individuality of the viewer. My work proposes that social “norms”, like heteronormativity, are perpetual and embodied, which influences the sensorial experience of art materials and artworks. My art practice examines the ways in which materials exist within the symbology of the viewer’s understanding of the world which is influenced by heterosexism, capitalism and colonialism. My research applies the theory of queer ecology, to frame my understanding of natural phenomena and objecthood in painting.
My studio investigations have been led by material experimentation and the development of an abstract language, which includes paintings, objects and installation pieces. By presenting works as “phenomena” and in dialogue with each other, an alternative experience of their spatial reality and inter-relation is inferred.
I explore the ways that abstraction can be used to queer normative understandings of nature. I emphasise the material state of my works as fragile, precarious, and temporal by incorporating found and natural materials outside of their economic value. My research considers the question, “what makes something queer?” within the realm of abstraction.
Fragile artworks present themselves from a place of vulnerability and ask for the care they require to exist in the world. Using precarious and impermanent refuse materials critiques the use-value of an artwork and queers an understanding of phenomena in nature. My practice results in a wide array of “anxious objects” without having a secure or clear final form. Many of the works will change over time. My paintings which might be considered a more stable object are made with materials that will change. By presenting art objects in intimate relationships with one another, I propose a queering of natural phenomena.
Words from 'All Fours' held at Canberra Contemporary Art Space 2023
(A selection of the works are in 'Reprise' 2023 at Stanley Street Gallery)I use automatic drawing techniques to explore a range of new marks in these recent works. I have also featured monoprinted gestures, shifting between the predictable and the unpredictable. The marks I apply to the ground react within this framework to create a tension between spontaneity and intention, fixed gesture and the innocuous uncontrolled line and ultimately give life to the surface.
Works in this exhibition arise from the compositional prompt of a four section grid. For me, the grid functions as an enabling constraint within the picture plane, which produces more creative possibilities. I consider 'the edge' as a fundamental visual threshold or boundary that can be broached, conversed with, or erased.
The geometric grid is a structure that resonates throughout our everyday environments, memories and worlds. In my search for the exciting feeling of freshness in something mundane, different qualities of line are discovered.
Lucy Chetcuti is an emerging visual artist based on unceded Ngunnawal/Ngambri land, Kamberri / Canberra.
Lucy was a board member of Tributary Projects Artspace between 2019-2021. In 2021 she won the ANU School of Art and Design Drawing Prize. She was a finalist in the 2022 Goulburn Art Award. Her work is held in private collections in Australia. She received First Class in Honours in Painting at the ANU School of Art and Design in 2021. She is a studio resident of Australian National Capital Arts in Kamberri / Canberra.
CV April, 2023
Exhibitions
Jacquie Meng, Andjana Pachkova, Lucy Chetcuti, Denis Clarke & Andrew Sullivan
ON EXHIBITION
July 4-August 11, 2024
Andrew Sullivan: Artist Statement & Bio
Andrew Sullivan is a renowned Sydney based artist, a past winner of the Sulman Prize. Sullivan’s practice is known for being idiosyncratic, saturated with detail, accompanied by a wicked sense of humour. He creates complex still lives and portraits, whether he has created them for his amusement or for the viewer. They are narratives that rigorously weaves through memory, melancholy and history.
While Sullivan's penchant for detail is evident, one must approach his works closely to fully appreciate their luminosity and meticulousness. Each piece possesses a unique personality, inviting viewers on a journey through time and prompting contemplation on deeper levels.
With a career spanning 30 years, Sullivan has exhibited extensively and his works adorn both institutional and private collections.
Andrew Sullivan lives and works on Gadigal land, Sydney. He graduated from the National Arts School and has exhibited in numerous galleries around Australia and New Zealand since then. He has been a past winner of the Sulman Prize, a finalist in several prizes including the Archibald, Blake Art Prize, The Mosman Art Prize to name a few, he has had numerous solo exhibitions and group shows.
With a career spanning 30 years, Sullivan has exhibited extensively and his works adorn both institutional and private collections nationally and internationally.
CV May, 2024
Exhibitions
Jacquie Meng, Andjana Pachkova, Lucy Chetcuti, Denis Clarke & Andrew Sullivan
ON EXHIBITION
July 4-August 11, 2024
Andjana Pachkova: Artist Statement & Bio
Andjana Pachkova is captivated by the never-ending dance of nature and the human; passionate and loving to be sure, yet also violent and at times exploitative. Her painting practice is firmly grounded in the intuitive, responding to the invisible and the ephemeral, to landscapes both travelled and felt. Her process follows the flow of substance, finding a place for herself that is liquid, fluid and moving very quickly. Interested in the infinite and treacherous possibility of water and surface, her painting practice explores the mutual interaction of the human and the landscape, how they move to shape and touch each other.
Born in Ukraine, Andjana Pachkova comes from a traditional Russian art tutoring background. Following the political movement Perestroika, she moved to Moscow and took classes at Stroganov Academy of Industrial and Applied Arts.
In 1997 Pachkova won the prestigious Davis Fellowship and subsequently moved to the United States. Alongside her academic studies, Andjana developed a drawing and painting practice informed by a passion for human relationships to landscape, in particular exploring the subtle changes in human psyche that occur when a person moves through a series of places. Andjana took art courses both at Dartmouth Colledge, New Hampshire and NYU, New York.
Grounded in the intuitive, Andjana’s paintings team with passion, submerging the viewer in an active experience of movement and self- actualisation. Responding to both invisible and ephemeral connection, to topographies both travelled and felt, her practice explores the mutual interaction of human within the landscape, how they move to shape and touch each other. Recently interested in the infinite and treacherous possibility of oceanscapes, her works and painting process have taken on the turbulence of substance, of flowing paint and swirling water, to find a place for herself on canvas that is fluid and living.
Pachkova has studied with notable artists such as Idris Murphy, Jo Bertini, Brandt Lewis, Denis Clarke and Tony Tozer. Upon her move to Australia in 2013, she began to exhibit her work in Sydney and since 2017 has been represented by Stanley Street Gallery in New South Wales.
Andjana's works are held in private collections across the United States, including Harvard Law faculty in Cambridge, Massachusetts, Russia, Australia, New Zealand, Iceland, Finland, Israel and Lebanon.
Andjana Pachkova: CV April, 2024 Download
Born in Ukraine, Andjana Pachkova moved to Moscow and studied at the Stroganov Academy of Industrial and Applied Arts.
In 1997 Pachkova won the prestigious Davis Fellowship and subsequently moved to the United States. Alongside her academic studies, Andjana developed a drawing and painting practice informed by a passion for human relationships to landscape, in particular exploring the subtle changes in human psyche that occur when a person moves through a series of places.
Pachkova has studied with notable artists such as Idris Murphy, Jo Bertini, Brandt Lewis, Denis Clarke and Tony Tozer. Upon her move to Australia in 2013, she began to exhibit her drawing and painting in Sydney and since 2017 has been represented by Stanley Street Gallery in New South Wales.
Andjana's works are held in private collections across the United States, including Harvard Law faculty in Cambridge, Massachusetts, Russia, Australia, New Zealand, Iceland, Finland, Israel and Lebanon.
Education
Solo exhibitions
Group exhibitions
Awards and achievements
Residencies & Workshops
Collections
Andjana’s works are held in private collections across the United States, including by a Harvard Law faculty in Cambridge, Massachusetts, Russia, all over Australia, Iceland, Finland, Israel and Lebanon, as well as New Zealand and displayed in corporate offices in Sydney CBD.
Reviews and publicity
Film/TV Appearances:
Several of Andjana’s paintings appeared in season two of the TV show “Secret City” on Foxtel and Nextflix in 2019 (with Oscars nominee for Best Supporting Actress Jackie Weever).
Several of Andjana’s works from the solo show 'Die Sehnsucht' appeared in the TV show “Between Two Worlds” in 2020.
Andjana’s work from 'Die Sehnsucht' also appeared in the 2022 Marvel film “Thor: Love and Thunder”.
Music Album Cover Commissions:
Reza Naeemi “Fernweh”, June 2020
Clay Hodges “Dancing with the Devil”, April, 2019
Reza Naeemi: Castle in the Sky, July 1, 2018
The Best Pessimist: Drawing the Endless Shore, DRAMA November 2017
MUUI: Seminal relased on MicroCastle, February 2017
Paranoid Dancer/Patrik Carrera: Vacant, January 2017
Paranoid Dancer/Patrik Carrera: Type 7-9, December 2016
Paranoid Dancer/Patrik Carrera Whim, December 2016
Paranoid Dancer: Reset November 2016
Directorships and Community Involvement:
In 2017 Andjana Pachkova was elected to the Board of Director of Workshop Art Center in Willoughby, Sydney area, Andjana served as the Chairwoman on the Programming Committee of the board until January 2019.
Jacquie Meng, Andjana Pachkova, Lucy Chetcuti, Denis Clarke & Andrew Sullivan
ON EXHIBITION
July 4-August 11, 2024