Eddie Abd, Silk cuts, 2022. Installation view, NAS Gallery, Sydney, 2022. Photo: Tim Connolly

Eddie Abd

Eddie Abd (she/her) is an artist and arts worker living and working on unceded Darug and Gundungurra lands in the Blue Mountains region. 

Eddie is interested in self representation as a means to situate the self within wider historical, cultural and political contexts. She works with video and digital imaging as an extension of her painting practice.

Eddie was awarded the 2021 Blake Emerging Artist Prize and was a 2022 Australia Council for the Arts Biennale delegate. 

Born in Lebanon in 1979, Eddie studied Fine Arts (Painting) at the Lebanese University. After moving to Australia in 2001 she completed a Bachelor of Digital Media at the College of Fine Arts, University of New South Wales.

Chun Yin Rainbow Chan, Fruit Song 生果文, 2022. Installation view, NAS Gallery, Sydney, 2022. Photo: Tim Connolly

Chun Yin Rainbow Chan

Chun Yin Rainbow Chan ‮‬is a Sydney-based artist working across music, performance, painting and installation. Her practice explores (mis)translation, diasporic experiences and deeply personal tales of love and loss. She has exhibited at Firstdraft, Sydney; Liquid Architecture, Melbourne; 4A Centre for Contemporary Asian Art, Sydney; Gallery Lane Cove, Sydney; Granville Centre Art Gallery, Sydney; and I-Project Space, Beijing. In 2020 Chan participated in 52 ARTISTS, 52 ACTIONS for Artspace, Sydney. Chan has performed at Sydney Opera House; Vivid Festival, Sydney; MONA FOMA, Hobart; QAGOMA, Brisbane; Melbourne Music Week; Iceland Airwaves, Reykjavík; National Taiwan Museum of Fine Arts, Taichung; and Tai Kwun, Hong Kong. Songs From a Walled Village, her documentary for ABC Radio National, was a finalist in the 2021 Asia-Pacific Broadcasting Union Awards. Chan teaches in Contemporary Music Practice at Sydney Conservatorium and is on the 4A Board. Her record Stanley was released on UK label Eastern Margins in 2021.

Cindy Yuen-Zhe Chen, Tracing proximity, 2022. Installation view, NAS Gallery, Sydney, 2022. Photo: Tim Connolly

Cindy Yuen-Zhe Chen

Cindy Yuen-Zhe Chen is an Australian-Chinese artist who lives and works on unceded Wallumattagal, Gai-mariagal and Gadigal Countries. Her practice examines how embodied listening and sounding can extend experimental drawing as a multi-sensory and emplaced process. Through interactions with the stories, surfaces, people and atmospheric contingencies of places, Chen develops drawing, listening and sounding as interconnected practices that engender connections and enact distinct senses of places. As the recipient of the University Postgraduate Award, Chen completed a Doctor of Philosophy in Art, Design and Media at the University of New South Wales Art and Design. Chen has presented her research internationally in England and China.

In 2022, Chen was commissioned by 4A Centre for Contemporary Asian Art to produce Spaces to stir, a solo exhibition presented in partnership with the Australian National Maritime Museum, Sydney. In December 2018, Chen held a solo exhibition at Ningbo Museum of Art, China.

Joe Wilson and Chanelle Collier, Kites, tails, banner in a foyer, This is not a love song [mix tape], Kite spectacular with power flower daisy image, 2022. Installation view, NAS Gallery, Sydney, 2022. Photo: Tim Connolly

Joe Wilson and Chanelle Collier 

Joe Wilson and Chanelle Collier are a partnership based in Sydney. Their shared practice is generative, built around ideas and interests in relational exchange, dialogue, agency and labour. They work alongside galleries and institutions using image, object, and sound. Their work acts as a testing ground to explore strategies of criticality and care.

Recent collaborative projects include This is not a love song, which explores the bodily encounter with museum structures; Play something else cowboy, which imparts agency through direct conversation; and Summer of 68, which researches the language of resistance.

Wilson has a First Class Honours and Master of Fine Art by Research, National Art School, Sydney, 2017. He was selected as a finalist for Hatched, PICA, 2017. Collier was a finalist in the Woollahra Small Sculpture Prize, 2011 and 2012; Fishers Ghost Award, 2011; Deakin University Contemporary Small Sculpture Award, 2012; and the Libris Award, 2013.

Wilson and Collier have collaborated since 2015; each is supported by a Higher Ground Studios Residency. They were the winners, Viewer’s Choice Award, Redlands Konica Minolta Art Prize (2018) and have been awarded grants and residencies including the Onslow Storrier Paris Residency, Cité Internationale des Arts, France (2018); Residency & Fellowship, Vermont Studio Center, USA (2022); Artists in Residence, Bundanon Trust (2022); NAVA Create NSW Artist Grant (2018); Create NSW Artist Grant (2021); and a Phoenix Central Park commission, (2021).

Emily Parsons-Lord, A great shock of brilliant hairs thrilled the sky, 2022. Installation view, NAS Gallery, Sydney, 2022. Photo: Tim Connolly

Emily Parson-Lord

Emily Parsons-Lord’s practice is concerned with air and explosions.

Air is simultaneously local and global, encompassing the effects of breathing as well as the impacts of polluters and policy makers. The air catches the explosions of industry, tracing invisible paths on the surface of the world as heavy metal pollution, monuments of our anthropogenic climate crisis. Parsons-Lord uses the materials of the climate crisis to interrogate the experience of witnessing spectacular collapse.

Politically potent and yet lyrical, her work allows you to simultaneously grasp planetary and atomic scales, and to slide through time and space with whimsy. Recent projects include recreating the air from past eras in Earth’s evolution, generating starlight in coloured smoke, and experimenting with pheromones, aerogel, and explosions. 

Parsons-Lord has exhibited nationally and internationally, participating in Wenn der wind weht, Kunsthaus, Vienna (2022), From impulse to action, Bundanon Art Museum, NSW (2021); 4A Centre for Contemporary Asian Art Beijing Studio Program (2019); Then let us run (the sky is falling), Vitalstatistix, Adelaide (2018); John Fries Award, UNSW Galleries, Sydney (2018); NSW Visual Arts Emerging Fellowship, Artspace, Sydney (2017); Liveworks, Carriageworks, Sydney (2017); A BROKEN LINK, Central St Martin’s, London (2017); Bristol Biennial 2016: in other worlds, United Kingdom (2016); Primavera 2016: young Australian artists, MCA Australia, Sydney (2016); and Tedx, Sydney (2016). In 2020, Parsons-Lord was the Major Prize Winner in the Churchie Emerging Art Award at the Institute of Modern Art, Brisbane. 

Genevieve Felix Reynolds, Utopian grey (what Scarpa taught me), 2022. Installation view, NAS Gallery, Sydney, 2022. Photo: Tim Connolly

Genevieve Felix Reynolds

Genevieve Felix Reynolds employs visual archives to explore contemporary abstractions of time and space. Parallel investigations into architecture, archaeology and digital technologies are collated via the language of contemporary painting, installation and play. Acting as a sort of instinct-driven archivist, she mines databases, museums, digital media and antiques stores for objects and imagery, amassing a personal collection of cultural artefacts – ancient, modernist, handmade, mass-produced, abstract.

Felix Reynolds was the recipient of the 2019 Sunshine Coast Residency Award and the 2016 Paddington Young Artist Award. She has been a finalist in the Ravenswood Prize and the Churchie Emerging Prize and has exhibited both nationally and internationally, participating in exhibitions at Gallery Pompom, Sydney; Brisbane Powerhouse; Michael Reid, Sydney; Gallery of Modern Art, Brisbane; Chasm Gallery, New York; Mana Contemporary, Jersey City, USA; and Durden and Ray, Los Angeles, among others.