Boundless; From patio to parlour,
urban to rural,
and everything in between: Scattered Grounds

📅 20-30 August 2026  
📍Palangi Gallery
Level 1/59 Flinders St, Surry Hills NSW 2010
🥂 Thu. 20 August  6-8PM

Living in the digital age of rapid advancement, urbaness around the world now possess a universal demeanor engulfed with screens, glass, and steel. Where infinite geometrical duplicates are puzzled in congestion, it constantly pendulates us between estrangement and belonging, as if a fish is out of water. Seeking a sense of belonging, a fade of topographical identity inspires individuals to find existential values in enduring personal and earthly memories. Such liminal spaces that possess minute moments, stimulations that may occur of a sudden but last everlastingly—allow one to engross oneself in a flash of sheltered embrace.

We present Scattered Grounds—holding the initiative of growth, exchange, and discourse. This exhibition brings together emerging artists affiliated with Sydney College of Arts (SCA, USYD), University of New South Wales (UNSW), and Parsons School of Design New York (TNS, NYC). Gathered across a transnational scope, these responses explore the complex interlock of land and memory, channeling themes of home, natural sublime, nostalgia, and more. Whether the bustling metropolis, the underground, the outdoors, or the indoors, tightly packed or loose, artworks enact as retrospective scaffolds, a self-portrait paving a sense of self. From distinct minds and regions, audiences are invited to step inside each of their 'memoryscapes,' to be strayed in the moment, and to inhale the stillness among the hurtles that alters the hollow gaze of ‘where we are’ into a passionate one—that might lead us to seek character in them.

Tracing familiarity among the estranged, this exhibition provokes a gradual pull to ask one:

Where is home?
Where do I belong?
Where am I?
Where should I be?

…and to constantly pendulate between estrangement and belonging. Answers are never fully given; they simply break the uniformed silence to polyphonic reminiscences.



Artists
Amber Koroluk-Stephenson
Annabelle Demarino
Emilia B. Levin
Emily Beattie
Felixe Rives
Gemma Anderson
Kim Anh Ngo Bui
Lana Ryles
Lige Qiao
Olive Burgess
Xanthe Kibble

Curators

Bomi Park
Judy (Yigu) Pan

*Refer to the catalogue to explore more about the project & to  view the full list of works*

📘 VIEW CATALOGUE




For all enquiries, please contact: 
Bomi Park E. audrey030321@gmail.com | M. +61 494 412 414 
Judy Pan E. panxiaoyi9@gmail.com | M. +61 451 457 016

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Acknowledgement of Country

We would like to acknowledge the Gadigal people of the Eora Nation as the Traditional Custodians of the land on which we meet today, and pay my respects to their Elders past, present, and emerging.

  Sc atter. e  d G ro un d  s

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Amber Koroluk-Stephenson    

Amber Koroluk-Stephenson is an artist, curator, educator and arts worker based in southern lutruwita/Tasmania. Working across painting, collage, sculpture and installation, her practice explores notions of identity, place and belonging to consider\ how cultural meaning is made, shared and sometimes lost. Drawing on the intersections between natural and built environments, and the blur between history, fifiction and popular culture, her work speaks to a fundamental human need for connection. Through material and narrative, she seeks to make visible what is overlooked. 
 

In these paintings, the magical ruby slippers worn by Dorothy Gale in the 1939 fifilm The Wizard of Oz have been conjured into the 1840’s colonial landscape painting by William Porden Kay, the last known colonial depiction of emus in Lutruwita/Tasmania before they were hunted into extinction by European settlers. The contrasts between the fantasy of cultural memory in popular culture and the histories of violence and extinction in Lutruwita/Tasmania since colonisation are further emphasised by the use of word play: Brooding hints at the care of incubating eggs, while also suggesting an atmosphere of somber and menace. Similarly, Fertile Grounds suggests a place for the colonial projection of empire through the myth of terra nullius. Contrasting cultural myths complicate questions of home and belonging for KorolukStephensonas a fifirst generation Lutruwitan/Tasmanian of recent migrant ancestry. In thinking through inherited legacies alongside current debates about re-wilding and de-extinction of species, these works consider the destructive impact of colonial power and the Anglo-European problem of belonging in the face of such histories.