Partial explores the concept of ‘partial viewing, a way of seeing that unfolds through textures that operate sequentially: first a distant gestalt, then a partial close-up, never both at once, encouraging the eye to move slowly, linger and trace. One cannot comprehend a whole surface simultaneously – only exclusively, in fragments as the gaze roams. Segments of reality exclude others, drawing attention to what remains obscured, without closure. In turn, the exhibition insists that every act of looking is incomplete, mediated, and shaped by the structures through which art – and perception itself – is framed.

Through tactile material practices, artists foreground modes of framing as (con)structural devices for encounter, underscoring how material translations mediate distinct perceptual enquiries. Functioning as ‘nested facets’, artworks offer layered examples of partial viewing, each shaped by a nuanced understanding of carefully handled materials that invite sustained, embodied attention. Different approaches to encasing materials speak to the (im)possibility of totality, positioning encounters as both revelation and omission.

Artists construct conditions. Something is happening or has already happened. The gallery becomes a field of residue, site of aftermath; artworks exist as traces of prior activity, producing the logic of having happened. Different systems of recognition read as both operations and narratives; you see how things relate, but their beginnings remain obscured. Viewers are invited to test relationships between objects, try to infer rules or meaning, and adjust their position in space to understand shifting correspondences. Materials behave like arrangements of evidence; what one sees is only a section of a larger conceptual or material structure that extends beyond the frame, exceeding singular viewpoints - Lane’s branches, Woodward’s desk components, Minack’s wires, Doggett-William’s flattened implosions.

Partial viewing is embedded in how a work is built: the whole is not located in one place. Petals are removed, logs reconfigured, desks dismantled, and small plastic knobs - found and fabricated - act as uncontained points of attention and assembly. There is no entry point; rather, viewers arrive at a pre-existing set of relations. We are late participants, observers. One enters at the work's completion, but enters mid-system. You never see the whole event, just as you can never occupy the “correct” position long enough to grasp an artwork completely. It depends on instability.

– Lilly Skipper

---

Joseph Doggett-Williams’ work is multifaceted in both medium and subject matter. His recent focus on sculptural assemblage incorporates discarded and found materials – restoring vitality to objects that might otherwise be seen as abject. In contemporary conditions of precarity, excess production, and collapse, he is interested in how overlooked detritus can be re-used to create new forms that are desirable.

Lucina Lane deftly combines painterly poetics and materiality with resourcefulness and improvisation, salvaging and repurposing found materials and histories – whether art historical, social, contextual or linguistic – into conceptually charged works which resonate beyond their time and place.

Lucina Lane (b.1991) lives and works in Melbourne; her works have been exhibited widely throughout Australia and internationally, with key presentations at The Australian Centre for Contemporary Art, Melbourne; Museum of Contemporary Art, Sydney; ANCA, Canberra; Hot Wheels Athens London, Athens; Robert Heald Gallery, Wellington; and Sarah Cottier Gallery, Sydney.

As an interdisciplinary artist who works primarily in installation and sculpture, Madeleine Minack’s practice derives from a process of accumulation. Minack collects discarded found objects to produce small, intimate sculptures which reflect minute details of normally unnoticed everyday matter. Through the process of collection, the artist creates something that, from adistance, appears insignificant. However, upon close examination, the sculptures become a detailed and complex body of work. Made from forgotten things and re-presented with wax as a binder, the small sculptures – often no larger than a thumbnail – form a home for what would normally be lost. Exploring journeys and passages, Minack’s work speaks to the everyday mundane and repetitive, forming a nest for discarded objects which would otherwise deteriorate into nothing.

Tim Woodward works across the mediums of sculpture, installation, and writing. His exhibitions and projects are known for generating narrative possibilities through the staging of specific material encounters. These encounters typically employ found or repurposed objects, exposing the infrastructural entanglements of people, property, and technologies.

Woodward has been the recipient of numerous awards including an Australian Postgraduate Award, the NAVA Sainsbury Sculpture Award, an Asialink Visual Art residency, the NAVA Australian Artists' Grant, Art Gallery of New South Wales Moya Davey Cité des Arts Studio Residency, the Art & Australia Credit Suisse Contemporary Art Award, Copyright Agency Cultural Fund, Ian Potter Cultural Trust Grant, the Queensland Art Gallery Melville Haysom Memorial Art Scholarship and the Janet Holmes à Court Artists Grant.

Tim Woodward is represented by Darren Knight Gallery, Sydney, and Animal House Fine Arts, Melbourne.

Lilly Skipper is a Melbourne/Naarm-based artist, curator, arts worker, and BFA Honours Graduate at Monash University (2023). Skipper’s artistic and curatorial approach contemplates temporal registers in art practice, including repetition, regression, idleness, counter-productivity, and dissonance in outcome. As an artist, her practice traces the impulses of high performance in Art, exploring the duality of labour and leisure in an object-oriented field. She considers what it is to cultivate a practice of vulnerable disinterest in resolution, represented as immediate interventions that unfold in response to site-specific inquiry.

Select curatorial projects include a Group Exhibition, 1/53 Bourke Street, Melbourne, 2026; Recess, cafe Gallery, Abbotsford, 2026; Flash Appearances of an Assortment, HAIR, Melbourne, 2025; Vice-Versa, Oddany Gallery, Collingwood, 2024; Papery, MOM Gallery, Thornbury, 2024; Voids, Five Walls Gallery, Footscray, 2024; Misdemeanours, George Paton Gallery, Melbourne, 2023; Leapt Conclusions, Dudley House Bendigo, 2022, and Vibes, Assembly Point, Creative Spaces Melbourne, 2021.