The Sydney exhibition of the 4th Australian Biennale of Reductive Art (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 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.Iron-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.}

_{In Accretions, Penny Coss expands her practice across media, exploring the material agency of geological processes. New glass sculptures are shown alongside raw canvas paintings, revealing a shared logic of heat, gravity and self-organisation. Cast glass forms — including impressions of her geologist father’s tools — evoke fragility, strength and spectral transformation. Through layered pigments, earth materials and textile remnants, Coss reflects on the porous boundaries between matter, memory and self.}