The exhibition opens with select works from Gerard Russo’s Luminescence series, including Verge (2022), Archer (2025), and Still (2021). These luminous figures interrogate the tension between visibility and withdrawal. Bodies turn inward or gaze toward unseen horizons, emphasising the subtle dynamics of presence, relationality, and attention.

Anita Mirabito’s Through the Weave (2025) is a site-specific crochet installation in graduated pinks, 180 × 120 cm, suspended from a brick wall. Fairy lights shine through the open pattern, revealing the tactility of the wool and generating a luminous, immersive experience. The work transforms domestic craft into sculptural presence, inviting viewers to inhabit a rhythm of attentive observation.

Melbourne-based Latin American artist, Andrea Vargas presents ceramic works including Let a Fountain Be My Moon (2025), The Sea, Calling Me (2025), and The Big Wave of a Star Night (2025). Informed by St Kilda Beach and the poetry of Gabriela Mistral, Vargas translates environmental and cultural observation into tactile, poetic forms, emphasising perception as an intimate, embodied act.

Florence Wang’s intimate oil landscapes, Home Is Where the Light Is (2025), Corner of Brunswick West (2025), and Bottle-O (2025), capture quotidian suburban Melbourne with narrative sensitivity. Her works reveal how seeing and being seen operate as reciprocal processes, where attention and presence are intertwined.

At the core of the exhibition, Keith Ross documents everyday gestures: a man crossing a street in Taking a Punt on a Punt (2024), another standing by a parked car interacting with a magpie in From the Bottom of My Heart. Thank You. I Had No Idea Where I Was (2024). These works reveal the emotional complexity inherent in ordinary life. Ellen Jury contributes a poignant domestic tableau, Beach Houses (2025), depicting a backyard with a single pink towel on a clothesline, condensing intimacy and memory into a minimal form.

Joanne Morris presents printed hyperreal charcoal works, including Feather (2025) and Balance (2025), conceived as layered, evolving multimedia prints. Each piece revisits the original painted charcoal observation, allowing Morris to embellish with additional charcoal layers. This iterative process transforms the prints into explorations of revisiting perception, inviting viewers to actively reconsider their gaze, reflect on how it is conditioned, and what they return their gaze to and revise their perception on.