<sub>While independently curated, the exhibition contributes to a broader national and international dialogue on the evolving language of abstraction and its place within contemporary visual culture.
Informed by the legacies of post-conceptual and post-formalist traditions, the works explore form as process, reduction as resistance, and abstraction as a space of perceptual and material experimentation. Rather than pursuing detachment or purity, the August 2025 artists embrace ambiguity, resonance and the complexity of lived experience.
The exhibition highlights the strength of Sydney based practices, alongside a selection of interstate and international artists, whose work interrogates form, colour, surface, structure, repetition and spatial tension.
Working across painting, drawing, sculpture, installation, sound, video and performance, these artists challenge the perceived neutrality of reductive art. Their practices reframe it as an active, responsive mode, attuned to presence, environment and the shifting thresholds between gesture and restraint.
Articulate project space, long committed to spatial and experimental practice, offers an ideal context for this inquiry. Here, reduction becomes a way to focus, sharpening attention, slowing perception and opening space for uncertainty. Works unfold through quiet insistence, shifting our engagement from looking to sensing, from object to condition.
This exhibition proposes reductive and non-objective approaches as essential and evolving modes of visual and critical engagement. These practices open a space for reflection, tension and possibility. In a world saturated with image and noise, they invite us to consider what remains, what endures, and what might emerge when less becomes more.


Beata Geyer, Curator</sub>

The Sydney exhibition of the 4th Australian Biennale of Reductive Arts (ABORA 4), presented at Articulate project space, brings together artists whose practices engage with reductive and non-objective strategies as modes of critical and material inquiry.

^{This work, Silted , (above) is based on fIeldwork researching tides. The still waters of an inland pool, once transparent, are now veiled by cyclone-borne debris—its surface holding the imprint of disturbance. The clarity now muddied by debris from cyclonic activity belies this work. The iron coloured orange pigment stains on paper references the stratigraphic layers of time. The iron rod suspended by pink string twine hovers like the varying tidal lines found on tidal charts.
ron-pigmented stains permeate the paper in slow, saturated layers, recalling the geological time of sedimentary accumulation. Suspended from an iron rod by pink thread, the composition is held in quiet tension, as a sewn cloth stained in blue angled line moves in the space, fracturing the continuity of the orange field, unsettling its reductive calm.}

_{ARTISTS Aaron Martin, Angharad Evans, Annelies Jahn, Anya Pesce, Beata Geyer, Belinda Yee, Billy Gruner, Brent Hallard, Chantal Grech, Chris Packer, Christine Dean, Cornelis Timmer, Deb Covell, Don Voisine, Elizabeth Day, Elizabeth Rankin, Elke Wohlfahrt, Gary Warner and Audrey Warner, Giles Ryder, Helen Shields, Isobel Johnston, Jamie Jude Smith, Jan Handel, Kate Galea, Kate Mackay, Kath O'Donnell, Kendal Heyes, Kyle Jenkins, Laurence Kimmel, Lisa Jones, Lisa Pang, Liz Shreeve, Louise Blyton, Louise Owen, Louise P Sloane, Luna Gui, Lynne Eastaway, Margaret Roberts, Mark Titmarsh, Marlene Sarroff, Merryn Trevethan, Neerja Chandna Peters, Nicole Ellis, Penny Coss, Peter de Lorenzo, Phong Le, Pia Larsen, PJ Hickman, Pollyxenia Joannou, Raymond Carter, Rolande Souliere, Sandra Curry, Sarah Fitzgerald, Sarah Keighery, Sarah Robson, Shelley Jardine, Sue Callanan, Susan Andrews, Suzan Shutan, Tarn McLean, Terri Brooks, Tilman, Tom Loveday, Yvette Hamilton}