Haydens is pleased to present a new body of work by Sebastian Temple for The Melbourne Art Fair 2025. This presentation brings together a diverse range of artworks, connecting ceramics, paintings, and wooden sculptures through Temple’s expanded drawing practice. Embracing uncertainty and slow, intuitive processes, he integrates scavenged materials, natural decay, and shared experiences, creating works that exist in a state of constant flux.

Drawing serves as the foundation of Temple’s multidisciplinary approach. “I think of most of my work as an expanded drawing,” he explains. “It exists in a constant state of becoming, shifting between function and transformation.” His works—ceramic vessels, furniture-like constructions, and reconfigured sculptures—often emerge from deconstructed and repurposed materials. Rooted in resourcefulness, his practice reflects a philosophy of adaptation, making do with what is readily available.

A highlight of Temple’s Melbourne Art Fair presentation is a large, mural scaled painting that has travelled with him for seven years, absorbing and reflecting the different environments he has inhabited. From working in a suburban garage in Perth to adapting to a variety of living and studio conditions, the painting encapsulates layers of lived experience.

His sculptural works similarly embrace transformation. Using found wood, scavenged materials, and ceramics, these objects oscillate between function and art—at times serving as stools, stands, or containers, and at others resisting utility entirely. “I like the tension between function, purpose, and artwork,” Temple says. “It allows for shifts in meaning, where something utilitarian suddenly becomes precious, or vice versa.”

Through his evolving interplay of drawing, sculpture, and functional objects, Temple challenges material hierarchies and invites us to reconsider the potential of discarded materials. His work offers a thoughtful reflection on sustainability, collaboration, and transformation—an especially relevant pursuit in today’s shifting environmental and economic landscape.

The Melbourne Art Fair runs from the 20th to the 23rd of February at The Melbourne Convention and Exhibition Centre. Visit us at Booth I3 to view Sebastian Temple’s latest works.

Purchase Tickets Here

This is the fourth part of RENDER, a series that will be displayed in varying formats confounding the performance of choreography with its rendering. Shelley Lasica with contributions from Louella May Hogan, Claire Leske, Caroline Meaden, Kate Meakin, Hayden Stuart, Indiana Coole, Andrew Wilson.

With thanks to Phoebe Kelly

Assistance though Callie’s Berlin Residency 2023/2024 and The Australian Ballet

To RSVP please email info@shelleylasica.com

This is the third part of RENDER, a series that will be displayed in varying formats confounding the performance of choreography with its rendering. Shelley Lasica with contributions from Louella May Hogan, Claire Leske, Caroline Meaden, Kate Meakin, Indiana Coole, Hayden Stuart, Andrew Wilson, Colby Vexler, Lisa Radford.

With thanks to Phoebe Kelly, Jo Lloyd.

Assistance though Callie’s Berlin Residency 2023/2024 and The Australian Ballet

Haydens is pleased to present Thin Green Mist, Small Grey Stain by Beau Emmett, an offsite project at Cache, 3/46 Little La Trobe Street. The exhibition offers a selection of new sculptural works and a framed jigsaw puzzle, combining elements of mysticism and the occult. Together, these works activate the site of Edmond and Corrigan’s library, as though the forgotten books have taken on a life of their own.

Framed in anodized aluminium reminiscent of movie poster frames, a puzzle of the 1978 edition of Sybil by Flora Rheta Schreiber depicts the young Sally Field, staring glassy eyed into the distance. The puzzle is missing sixteen pieces, symbolic of the multiple personalities trapped within poor Sybil, instead replaced by oozing pearlescent ectoplasm.

Towards the floor lies a stack of archive boxes and several abandoned books. A copy of Nostradamus 1: Countdown to Apocalypsepublished in 1986 magically levitates, silently spinning around. His glowing, cosmic head blasts laser beams directly towards us from 450 years in the past. An illustration of another other grey-haired visionary, Carl Jung, peers back under raised glasses on the cover of Memories, Dreams, Reflections, and another floating head of the teenage psychic Mathew Manning explains his connection to the paranormal in The Link.

Sprouting atop of a triangular mirrored plinth is an intricately formed steel rose, shielded by three copies of The Grand Tour: The Closed Faith, a book covering the ‘the greatest architectural achievements of all time.’ The content of the book is focused on places of worship, such as the Cathedrals of Monreale in Sicily, Santiago di Compostela in Spain, and Aachen in Germany, while the rose references the private inner sanctum of esoteric Swiss UFO cult The Order of the Solar Temple, active in the 1990’s.

Chrome, the largest work in the exhibition, is a serpentine, twisting metallic conduit holding two transparent egg-like forms that contain soil from Roswell USA, frozen within the shell like a galaxy exploding outward. The title of the work is a direct nod to the seminal gay science fiction novel of the same name, written by George Nader. Written during the emergence of the AIDS epidemic, there was a proliferation of accounts of anal probing during alleged alien abductions in the United States.

Bringing these works together within the library of Edmond and Corrigan conjures forth a portrait of an individual obsessed with the paranormal. Someone possessed with a desire to learn that which is beyond our understanding.

Beau Emmett was born in 1977 and lives and works in Naarm, Melbourne Australia. He is an honours graduate of the Victorian College of the Arts and works as an artist, lecturer, technician and hairdresser.

Beau is a multimedia artist with a focus on sculpture, installation and photography. He approaches his practice as a site for the creation of sculptural compositions, tracing a relationship between image, object and performance. Common motifs in his work involve mythology, psychology, catastrophism, the occult, and pseudoscience.

Beau is currently undertaking a Masters of Fine Art (Research) at the Victorian College of the Arts, University of Melbourne.