> Skywriting Stanzas in Thunderstorms
18 February – 02 Apr 2026
Group exhibition: 1301SW, Melbourne
Artists: Tim Bučković, Gino De Dominicis, David Egan, Simryn Gill, Patrick Hartigan, Jelena Telecki and Cathy Wilkes
A presentation of artworks holding subtlety and deception, a unique dialect with a sentimentality for nostalgia and a pining for the present — where “the past reappears because it is a hidden present”. An exhibition oscillating, where isolation, emotion, solitude and silence sit within a subplot, one notwithstanding the surreal humour of societal extremity, the autobiographical and tender intimacy of everyday life.
Emotionally and atmospherically between Caspar David Friedrich’s Wanderer above the Sea of Fog and Monk by the Sea, with each painting’s protagonist being taken and supplanted into Samuel Beckett’s Waiting for Godot.
A deceptive dialect,
an allegory, all together for an announcement … to be forgotten;
drifting, but calm;
to be both precise and liberated from … I’ve forgotten.
Deceptively sentimental, somehow something remains sinister… oscillating;
looking at the sea and a sea of fog (a sea within a sea) … see.
A figure or a tree, a form remains with the seas,
peering into its solitude and its own deception;
within and without an imaginary world … I’ve forgotten.
Not forgotten,
rather soft or serene, just there …
https://www.1301sw.com/exhibition/skywriting-stanzas-in-thunderstorms/
> 16 August - 2o September 2025
Solo exhibition: STARKWHITE, Auckland NZ
Posing, peering, perching, pondering, and posturing.
The artists, gimps, aristocrats, lovers, and anonymous individuals found in this selection of Jelena Telecki paintings, crafted with a masterful manoeuvring of oils, stretch across the past five years of production. Connected by an overarching atmosphere, though in some cases years apart, the feeling each work possesses is a constant. Exploring a kind of absurdity fused with both the personal and political, the cinematic greys and sepia tones associated with the Eastern Bloc — Telecki’s place of birth — run throughout each painting. But Telecki’s works seem to sit closer to the stage than film, between Beckett and Ionesco’s individual takes on the Theatre of the Absurd and Artaud’s Theatre of Cruelty; themes of black humour, abstraction, and extremity are played out in differing acts or scenes as part of a larger play whose duration continues to extend.
Presenting this cross-section of recent works shows the constant contained within Telecki’s larger play — the aforementioned feeling, with the individual narratives of each act (painting) highlighting key points of reference or concern for the artist: from a pleasurable release, overthinking, or feeling a state of unease, to being a poor party guest. These figures play their roles in an unassuming way, not overly apparent, yet richly gesturing to something more holistic and grand.<
