Maddison Kitching


The Axolotl – an Aztec God banished to a life of darkness, a cultural icon proliferated as soft toys, mascots and featured on the 50 peso note in Mexico, the key to human organ regeneration, an animal on the verge of extinction in the wild, a popular domesticated pet and an animal where mutant variants are now the norm. This is the starting point of this work developed while in residence at Casa Lü.


Kitching continues his interest in animal symbolism and representation with these initial works. The series conceptualises the Axolotl’s eyes as the window between two worlds, a window in which the glass has been continually altered through selective breeding and genetic modification. New eye colour variants have been developed to fit human ideals of beauty; from naturally occurring brown eyes to gold, red, blue, green and black. For the axolotl, their point of view has undergone permanent change. Taking the eyes as a starting point, Kitching creates paintings which envision a place between worlds. Earthly, artificial, spiritual or soft toy? What does it mean to be an animal with legendary status? And how does it feel to be a God in an aquarium? This series calls to question the role of humans in preservation, domesticity, modification and legacy.


Maddison Kitching is an Australian artist. Interested in representations of animals and landscape, his work is research-based pulling together sources from architecture, advertising, science and literature. Through the reconfiguration of these sources, Kitching creates artworks which seek to interrogate our relationship with nature, corporations and national identity. He completed a Bachelor of Communication Design at RMIT in 2012. Recent solo exhibitions include; Here, there, everywhere, KINGS ARI, Melbourne, Australia (2022), Soft power, Readings, Melbourne, Australia (2022), I’ve been everywhere man, Stockroom, Kyneton, Australia (2019) and A partial view, Chapter House Lane, Melbourne, Australia (2018). Kitching is represented by Aster + Asha Gallery, Brisbane, Australia.


Daniel Mullen


The question of sense perception is not limited to how we might perceive light, darkness, form, and color. We subsist in a precarious environment, in an era of mass digitization. How might our visual and emotional sensitivities be shifting as we find ourselves flowing between our physical environment and a techno-sphere, aided in part by back-lit digital devices?


With my work, I aim to question these shifting modes of perception through dialectical compositions, and expressions of color, light, and darkness. That results in works that might appear as digital renderings however upon closer inspection reveal the materiality by which they are constructed. A time-consuming craftsmanship that does not seek binary perfection, but rather embraces nuisance, imperfection, and materiality. As we increasingly shift back and forth between these modes of perception might this shifting reveal to us in clearer terms the void within?



Carolina Jiménez

Carolina Jiménez draws on her heritage as a first generation Mexican-American and her interest in the transcendent potential of everyday moments to create woven paintings. These constructions use color and materiality in careful attunement and as a vehicle for containing and expressing emotion. While these works are abstract, they are tied to actual places, people, and experiences: the colors of a cut plum or the dappled light under a jacaranda tree, the smell of iron in earth and blood or the deepening color of cempasuchil petals.  These meditations on banal moments seek to amplify Jiménez’ own attunement to physical matter and open a portal through which others can experience their own moments of “heightened embodiment”. 


The works on paper produced at Casa Lü represent an expansion of Jiménez’ material world. Carrying on the study of the ephemeral made corporeal, these monotype prints study the transference of memory from one generation to another through the calibrated use of color and the technique of ghost printing. Ghost printing is the usage of a printmaking plate that has previously been used, the remnants of this print can be lifted again to create a whisper of that first print, a trace that stretches from past to future just like the moments that tie us to shared history and culture. 





Xi Jin


A dialogue is a conversation between two or more persons and also a similar exchange between a person and something else (such as a computer). For example, in my practice, two Arduino Servo Motors are in conversation:


ASM1: Same Code. Same Time. Same Paper.


ASM2: We are making.


ASM1: For what?


ASM2: Lines. Dots. Arts.


ASM1: Well? Shall we go?


ASM2: We can’t.


ASM1: Why not?


ASM2: We are waiting for an  if ( condition ) { } 




Julia Winkler


Sometimes you gotta lose 


Tell me, how far is the sky? 

When we were younger, we always reached it. 

Just one second away, the dream was shattered and you woke up 

And now you feel this emptiness, as if nothing was here. 

Take something against the heaviness. 

For there’s so much that pulls you down.

In a world full of gravity, your lightness makes the difference. 


I’m chasing a dot on the horizon. No matter how fast I go, I can’t reach it 

Every time I win, I lose something with you. 

And believe me, anyone can win, but how often can you lose? 

Sometimes it goes up, so high, and then down again. 


I write you a letter, but I never send it 

There is so much that a word never says.

You drive love in a fancy car up against the wall and you don’t notice 

What a fucking sound when you heart breaks. 

It’s not all sweets, I’ve lost a lot. 

I close the door and start all over again. 

Line up and wait 


But sometimes it just goes like that. Everything gets you down 

Just let it go… 

And the things below you aren’t so big anymore. 

Look up and all at once it goes up. 

Because every time something goes – there’s room for something new 

And if it wasn’t meant to be yesterday – it’ll work out today 


It’s not about what leaves you, but about what stays forever. 

Why do you see things always coming, but never going? 

I love to love and I hate to hate. 

Most people are afraid of the fear – it’s a dance at a distance – they can’t 

reach it and they just can’t grasp it. 


I sit back – not afraid to lose. 

Because every time something wants to let go – let it go 

And it comes back to you someday. 

Throw off the ballast, everything becomes easy, just like that 

Strap yourself in, ready for take off