North Gallery

Final Days Liz Sullivan | Melted Wax on Wings 24.04.26 | 16.05.26 North Gallery are pleased to present Liz Sullivan’s latest body of work ‘Melted Wax on Wings’. An Archibald, Doug Moran, Glover and Kennedy award finalist, Liz brings her practiced eye to choreographer Alice Topp’s movement and language. ‘…..For me, it has always been about the act of painting “Calligraphic depiction of links to tradition – between the abstract and the figurative the naked landscape as a measure of the internal rather than an external journey” What began as a portrait of Alice Topp, ballet dancer and choreographer extraordinaire, progressed through the freedom of paint and Alice’s personality into using wax with colour and movement– to “fix her wings.” Icarus was reborn. I have used classical images previously, but this series became a narrative about struggle, bliss and imaginative activity……’ Liz Sullivan

I’m thrilled to share that I’ll be exhibiting with North Gallery @_northgallery in Fitzroy, Melbourne, for the first time this August! I’ll be sure to keep you in the loop with more details as they become available in a couple of months. Pictured - Watermelon Eaters 2026 Oil on cotton canvas 40cm x 50cm

Opening Event | Saturday, 02nd May (3-6pm) Liz Sullivan | Melted Wax on Wings 24.04.26 | 16.05.26 North Gallery are pleased to present Liz Sullivan’s latest body of work ‘Melted Wax on Wings’. An Archibald, Doug Moran, Glover and Kennedy award finalist, Liz brings her practiced eye to choreographer Alice Topp’s movement and language. ‘…..For me, it has always been about the act of painting “Calligraphic depiction of links to tradition – between the abstract and the figurative the naked landscape as a measure of the internal rather than an external journey” What began as a portrait of Alice Topp, ballet dancer and choreographer extraordinaire, progressed through the freedom of paint and Alice’s personality into using wax with colour and movement– to “fix her wings.” Icarus was reborn. I have used classical images previously, but this series became a narrative about struggle, bliss and imaginative activity……’ Liz Sullivan ‘Aurum’ Oil, acrylic and charcoal on canvas 213 x 183cm

Currently Showing Liz Sullivan | Melted Wax on Wings 24.04.26 | 16.05.26 North Gallery are pleased to present Liz Sullivan’s latest body of work ‘Melted Wax on Wings’. An Archibald, Doug Moran, Glover and Kennedy award finalist, Liz brings her practiced eye to choreographer Alice Topp’s movement and language. ‘…..For me, it has always been about the act of painting “Calligraphic depiction of links to tradition – between the abstract and the figurative the naked landscape as a measure of the internal rather than an external journey” What began as a portrait of Alice Topp, ballet dancer and choreographer extraordinaire, progressed through the freedom of paint and Alice’s personality into using wax with colour and movement– to “fix her wings.” Icarus was reborn. I have used classical images previously, but this series became a narrative about struggle, bliss and imaginative activity……’ Liz Sullivan ‘Some of Us Don’t Know Why’ Oil on board 160 x 120cm ‘Wax and Wane’ Oil and wax on board 70 x 60cm ‘Come Hither’ Oil and pencil on board 40 x 30cm ‘Bound for Glory’ Acrylic and oil on board 30 x 25cm ‘Standing Still’ Ceramics on wooden plinth 45 x 31 x 23cm

Final Days Marina Mason | Wavehorse 13.03.26 | 27.03.26 North Gallery are pleased to present Marina Mason’s latest body of work, ‘Wavehorse’. Marina Mason is a visual artist based in Melbourne. Working with clay, paper and found materials her work has evolved from traditional 2 D painting to include sculpture and installation.She is dedicated to the creative process of making objects, and sourcing materials in innovative and sustainable ways. Her work inspired by art history and enchanted by myth and archetypal imagery, delves into themes of shared human experience. Marina Mason earned a Diploma of Visual Art from Box Hill Institute in 1999 and a Master’s degree in the same field from Monash University in 2009. While her recent series, ‘Wavehorse’ centres on painting, each work is deeply informed by its sculptural potential. ‘‘Wavehorse’ was born in an isolated midwinter in Sweden. This work comes from shipwrecks, Viking burials, cold and snow. It’s a work forged from darkness and silence - a threshold where the veil between this world and the other is delicate; a time of beauty, star and candle; a sense of clarity and resilience. In Old Norse language, Unvigg, Wavehorse means a ship. In history and myth, horses and ships, capable of crossing both physical and metaphorical boundaries, play a vital role in human affairs. The relationship between human and horse is complex; intimacy and deep attachment on one hand and neglect and abuse on the other. Ships and horses, practical and physically alluring, inspire the human imagination with stories both real and imagined. One such is the story of Slepinir, the Norse god Odin’s eight legged horse, which flies from one world to another, providing a powerful archetype for humans confronting the challenge of mortality.’ Marina Mason ‘Trek’ 2025 Oil on linen 124 x 84cm ‘Conversation’ 2026 Acrylic on linen 60 x 75cm

Currently Exhibiting Marina Mason | Wavehorse 13.03.26 | 27.03.26 North Gallery are pleased to present Marina Mason’s latest body of work, ‘Wavehorse’. Marina Mason is a visual artist based in Melbourne. Working with clay, paper and found materials her work has evolved from traditional 2 D painting to include sculpture and installation.She is dedicated to the creative process of making objects, and sourcing materials in innovative and sustainable ways. Her work inspired by art history and enchanted by myth and archetypal imagery, delves into themes of shared human experience. Marina Mason earned a Diploma of Visual Art from Box Hill Institute in 1999 and a Master’s degree in the same field from Monash University in 2009. While her recent series, ‘Wavehorse’ centres on painting, each work is deeply informed by its sculptural potential. ‘‘Wavehorse’ was born in an isolated midwinter in Sweden. This work comes from shipwrecks, Viking burials, cold and snow. It’s a work forged from darkness and silence - a threshold where the veil between this world and the other is delicate; a time of beauty, star and candle; a sense of clarity and resilience. In Old Norse language, Unvigg, Wavehorse means a ship. In history and myth, horses and ships, capable of crossing both physical and metaphorical boundaries, play a vital role in human affairs. The relationship between human and horse is complex; intimacy and deep attachment on one hand and neglect and abuse on the other. Ships and horses, practical and physically alluring, inspire the human imagination with stories both real and imagined. One such is the story of Slepinir, the Norse god Odin’s eight legged horse, which flies from one world to another, providing a powerful archetype for humans confronting the challenge of mortality.’ Marina Mason ‘Burial’ 2025 Acrylic on linen 71 x 123cm

Currently Exhibiting Marina Mason | Wavehorse 13.03.26 | 27.03.26 North Gallery are pleased to present Marina Mason’s latest body of work, ‘Wavehorse’. Marina Mason is a visual artist based in Melbourne. Working with clay, paper and found materials her work has evolved from traditional 2 D painting to include sculpture and installation.She is dedicated to the creative process of making objects, and sourcing materials in innovative and sustainable ways. Her work inspired by art history and enchanted by myth and archetypal imagery, delves into themes of shared human experience. Marina Mason earned a Diploma of Visual Art from Box Hill Institute in 1999 and a Master’s degree in the same field from Monash University in 2009. While her recent series, ‘Wavehorse’ centres on painting, each work is deeply informed by its sculptural potential. ‘‘Wavehorse’ was born in an isolated midwinter in Sweden. This work comes from shipwrecks, Viking burials, cold and snow. It’s a work forged from darkness and silence - a threshold where the veil between this world and the other is delicate; a time of beauty, star and candle; a sense of clarity and resilience. In Old Norse language, Unvigg, Wavehorse means a ship. In history and myth, horses and ships, capable of crossing both physical and metaphorical boundaries, play a vital role in human affairs. The relationship between human and horse is complex; intimacy and deep attachment on one hand and neglect and abuse on the other. Ships and horses, practical and physically alluring, inspire the human imagination with stories both real and imagined. One such is the story of Slepinir, the Norse god Odin’s eight legged horse, which flies from one world to another, providing a powerful archetype for humans confronting the challenge of mortality.’ Marina Mason ‘Vasa’ 2026 (diptych) Oil on canvas 122 x 182cm

Opening Event Marina Mason | Wavehorse Tonight | Friday 13th March (5-8pm) North Gallery are pleased to present Marina Mason’s latest body of work, ‘Wavehorse’. Marina Mason is a visual artist based in Melbourne. Working with clay, paper and found materials her work has evolved from traditional 2 D painting to include sculpture and installation.She is dedicated to the creative process of making objects, and sourcing materials in innovative and sustainable ways. Her work inspired by art history and enchanted by myth and archetypal imagery, delves into themes of shared human experience. Marina Mason earned a Diploma of Visual Art from Box Hill Institute in 1999 and a Master’s degree in the same field from Monash University in 2009. While her recent series, ‘Wavehorse’ centres on painting, each work is deeply informed by its sculptural potential. ‘‘Wavehorse’ was born in an isolated midwinter in Sweden. This work comes from shipwrecks, Viking burials, cold and snow. It’s a work forged from darkness and silence - a threshold where the veil between this world and the other is delicate; a time of beauty, star and candle; a sense of clarity and resilience. In Old Norse language, Unvigg, Wavehorse means a ship. In history and myth, horses and ships, capable of crossing both physical and metaphorical boundaries, play a vital role in human affairs. The relationship between human and horse is complex; intimacy and deep attachment on one hand and neglect and abuse on the other. Ships and horses, practical and physically alluring, inspire the human imagination with stories both real and imagined. One such is the story of Slepinir, the Norse god Odin’s eight legged horse, which flies from one world to another, providing a powerful archetype for humans confronting the challenge of mortality.’ Marina Mason ‘Worldwalker’ 2019 Earthenware 38 x 35 x 65cm ‘Fury’ 2013 Acrylic on linen 125 x 150cm

Final Days Angus White | L’Appel du Vide 21.02.26 | 07.03.26 North Gallery are thrilled to present Angus White’s debut solo exhibition in Melbourne, ‘L’Appel du Vide’ (Looking into the Void) ‘This body of work emerged during a period of living and painting in Paris, shaped by constant movement, temporary routines, and fleeting encounters. Days unfolded through walking, eating, returning late, and leaving again. People appeared briefly, charged with intensity by the awareness that they might never be seen again. Attention sharpened and softened in waves. To live between places was to exist in a heightened state, where nothing felt fully stable and everything seemed provisional. The paintings reflect this condition. Figures appear loosely formed, as if caught mid-gesture or mid-thought. Bodies stretch, fold, blur, and reassemble, never fully settling into permanence….’ The catalogue is now available via the North Gallery website. ‘Biking (autour de Paris)’ 2025 Oil on canvas 96 x 96cm ‘La Tour Eiffel’ 2025 Oil on canvas 121 x 96cm

Currently Showing Angus White | L’Appel du Vide 26.02.26 | 07.02.26 Angus White (b.1998, Melbourne, Australia) is a London based painter whose work explores the fleeting nature of human experience. Rooted in an architectural understanding of space and composition, his paintings blur the lines between form and figure, structure and spontaneity, translating the ephemeral rhythms of quotidian life into a visual lexicon of movement, tension, and stillness. With a background in architecture and public art, Angus has developed a sensitivity to the way spaces shape perception. This awareness permeates his painting practice, where color and gesture construct environments that are both deeply personal and universally resonant. His recent work moves away from representation, instead distilling human presence into marks, traces, and textures; echoes of encounters, places, and sensations. His evolution as a painter has been met with critical recognition. In 2023, he was awarded the prestigious Brett Whiteley Travelling Art Scholarship, as well as the ARM Prize for Architectural Excellence in 2019. Most recently Angus was awarded by the Art Gallery of New South Whales, a residency at La Cité Internationale des Arts in Paris. Angus is currently pursuing his MA at the Royal College of Art in London, and has been awarded a Colarts Windsor & Newton Bursary in 2026. ‘A Chair Forever Holding You’ (sold) Oil on canvas 106 x 96cm ‘Study for figure in a chair’ (sold) Oil on canvas 106 x 96cm ‘I felt most at home in yours (rue Saint Maur)’ (sold) Oil on linen 200 x 188cm ‘Towards something new’ Oil on linen 155 x 132cm ‘A Sweet Life of Excess’ (sold) Oil on linen 192 x 180cm Photo by Phillip Huynh @afloralfrenzy

Currently Showing Angus White | L’Appel du Vide 21.02.26 | 07.03.26 North Gallery are thrilled to present Angus White’s debut solo exhibition in Melbourne, ‘L’Appel du Vide’ (Looking into the Void) ‘This body of work emerged during a period of living and painting in Paris, shaped by constant movement, temporary routines, and fleeting encounters. Days unfolded through walking, eating, returning late, and leaving again. People appeared briefly, charged with intensity by the awareness that they might never be seen again. Attention sharpened and softened in waves. To live between places was to exist in a heightened state, where nothing felt fully stable and everything seemed provisional. The paintings reflect this condition. Figures appear loosely formed, as if caught mid-gesture or mid-thought. Bodies stretch, fold, blur, and reassemble, never fully settling into permanence….’ The catalogue is now available via the North Gallery website. ‘Towards Something New’ Oil on linen 155 x 132cm ‘A Sweet Life of Excess’ (sold) Oil on linen 200 x 188cm

Currently Showing Angus White | L’Appel du Vide 21.02.26 | 07.03.26 North Gallery are thrilled to present Angus White’s debut solo exhibition in Melbourne, ‘L’Appel du Vide’ (Looking into the Void) ‘This body of work emerged during a period of living and painting in Paris, shaped by constant movement, temporary routines, and fleeting encounters. Days unfolded through walking, eating, returning late, and leaving again. People appeared briefly, charged with intensity by the awareness that they might never be seen again. Attention sharpened and softened in waves. To live between places was to exist in a heightened state, where nothing felt fully stable and everything seemed provisional. The paintings reflect this condition. Figures appear loosely formed, as if caught mid-gesture or mid-thought. Bodies stretch, fold, blur, and reassemble, never fully settling into permanence….’ The catalogue is now available via the North Gallery website. ‘The show to which we were all invited’ (sold) Oil on linen 200 x 188cm ‘Lamentation, adoration, death, complete, unchanged and everlasting (rue Marcadet) Oil on linen 200 x 188cm