DRAW Space are delighted to present Group Show / INTERTWINED
Join the DRAW Space Board and Volunteer team to celebrate from 6pm on Thursday 11 December.
This exhibition of volunteers at DRAW Space celebrates the collective effort and ongoing commitment required to sustain this artist-run initiative. By bringing together their diverse practices, the show reflects not only their individual creativity but also the spirit of collaboration and the passion for drawing that defines DRAW Space.
INTERTWINED will feature the work of:
Monika Cvitanovic @monikazart
André de Vanny @andredevanny
Amelie Leow @frenchieinstripes
Judith Macrae @judithmacraeartist
Declan Moore @declanm003
Tamara Pavlovic @tamara_pavlovic_artist
Anya Pesce @anyapesce
Katika Schultz @katika.schultz.studio
Richard Trang @makingartsozmum
Beatrice Weidner @beatrice.weidner.art
At DRAW Space, we embrace a broad understanding of drawing, encouraging exploration and research into its evolving forms. This exhibition gathers works that celebrate the varied possibilities of drawing, demonstrating how it crosses boundaries of technique and form.
As we mark two and a half years of continuous programming, this exhibition reaffirms our commitment to supporting diverse voices. Through our exhibitions, workshops, and residencies, we aim to raise the profile of drawing in Australia and internationally, creating space for new conversations.
The exhibition will run until 5pm Sunday 21 December.
About the work
Monika Cvitanović
Soft archive I, 2024-2025, textile-based artworks, inherited doilies and thread, 30 x 30 cm, $500 (shown above)
Soft archive II, 2024-2025, textile-based artworks, inherited doilies and thread, 31 x 35 cm, $500
Soft archive III, 2024-2025, textile-based artworks, inherited doilies and thread, 26 x 31 cm, $450
The Soft Archive series aims to re-temporalise several forms of textile labour by reducing waste through wrapped assemblages that blend domestic and artistic contexts. Cvitanović folds and stacks her textile-based artworks produced over recent years, encasing them in family heirloom doilies, juxtaposing earlier creative explorations and feminised cultural traditions. This method serves to reclaim materials while recognising the labour embedded both in the unresolved artworks and in the doilies, thereby highlighting principles of care and preservation. Through layering and bundling, this work establishes a conceptual space where different timelines of women's textile-based work converge.
André de Vanny
Saint Reparata, 2025, acrylic, charcoal and pastel on paper, 118 x 168 cm, NFS
André de Vanny is a painter and multi-media artist based in Eora/Sydney. Drawing from the ethereal qualities of early Renaissance painting and expanding upon the rich visual language of contemporary abstraction, André’s work explores the delicate balance between the abject and the sublime. His practice is inherently physical, incorporating cycles of disintegration and repair which speak to the human experience of trauma and healing.
The Persecution of Saint Reparata is a work of eight interconnected drawings, which emerged from a recent residency in New York . “I visited the Metropolitan Museum of Art a number of times and was struck by a tempera predella by Bernardo Daddi depicting the persecution of Saint Reparata in three scenes: Saint Reparata before Decius, Saint Reparata being tortured with red-hot irons, and Saint Reparata being prepared for execution. In these small Renaissance panels, the tormentors’ faces have been scratched out and defaced at some point in history by viewers outraged at the scene.” This drawing re-imagines the chaos of her martyrdom not as a single moment, but as an active scene marked by movement. Disembodied figures flicker in and out of focus, evoking the wild fervour of the surrounding hoards. “My interest was not in creating a literal representation of the scene; rather, I wanted to excavate the shock and awe that I felt when confronted by the ferocity and beauty of these medieval paintings.”
Amelie Leow
Just in case you have to go, 2025, polaroids on calico, lead pencil, 88 x 34 cm, $120
This project investigates grief, loss, and the subtle imprints individuals leave behind, focusing on the often-overlooked significance of mundane traces that gain meaning in a person’s absence. A collage of Polaroid images functions as a scrapbook of ordinary moments, emphasizing the quiet permanence embedded in everyday actions. This approach is intended to foster an intimate connection with viewers and encourage reflection on the enduring presence created by human behaviour. The work aims to highlight the value of appreciating those who surround us and to prompt consideration of the lasting impressions that shape personal and collective memory.
Judith Macrae
Sky, 2025, Wool and cotton yarn on raw linen, Tasmanian oak frame, 28.5 x 28.5 x 5.5 cm, $695
A meditation on the sky’s beauty, it’s shifting moods and colours.
Declan Moore
Posted, 2025, graphite on paper 76 x 76 mm, $50
What makes an artist? Is it the sum cost of materials, being represented by XXX Sexy Galleries ‘R’ Us, or being the ‘artist armcandy’ for a B-list celebrity? I’ve never really been great at any of those things, nor have I ever found this great ‘art community’. So really, I’m a failing artist by the above standards and irrelevant in the wider Australian art scene - to be honest I flip flop about how much I care about that. What I can tell you is that I love drawing and I will do it till I’m dead. That's what the work is about; Posted is a drawing on a posted note. A rejection of a hierarchy of material cost and a focus on drawing itself. It's a work that fits in the larger puzzle of my practice that pragmatically draws down, pun intended, to the daily habit of making art I’ve tried to commit to over the past two years. People, portraiture, the body, have always been the focus of my practice. If you look around, our world is full of them. Whether you like it or not you probably know another person. It makes sense to me that we should celebrate that.
Tamara Pavlovic
Retrospection, 2024, watercolours, pencil and collage on 300gsm cotton paper, 26 x 36cm, $320
The play, 2022, ink, collage and gesso on paper, 55 x 51cm, $500 (shown above)
Sounds of blue, 2024, pencil, watercolours and collage on 300gsm watercolour paper, 36 x 26cm, $320
Tamara Pavlovic is a contemporary visual artist, originally from Belgrade, Serbia. Her art practice spans collage, mixed media and painting. Pavlovic has a keen interest in identity, psyche and the body. She completed Master of Art at UNSW Art & Design in 2019. In 2020 she won the Works on Paper Prize from Blackstone Gallery, Newcastle and has since participated in solo and group exhibitions. Pavlovic has been a finalist in art awards including the Fisher’s Ghost Art award, Blacktown Art Award, Hunters Hill Art Prize, FLOW Contemporary Watercolour Award and Eckersley’s Art Prize.
My work explores internal states and the invisible experiences of what I describe as the “felt body”. I often begin with life drawing studies using watercolour pencils, building the forms with watercolours and ink before resolving the piece through collage. Colour becomes a way of articulating shifting moods, allowing emotional and physical sensations to emerge through layered marks and material.
Anya Pesce
Internal form, 2025, engraving on aluminium board and paint, 20 x 5 cm, $450
My works are best described as three dimensional sculptural forms that are made by hand moulded polymethyl methacrylate. Surface is a significant concept in my practice as it encompasses both formal and conceptual elements expressed through the medium. The visceral qualities of my work are intentional and serve as tactile and sensory stimuli for the viewer. In this drawing Internal Form, I have visualised the underlying contours and structure of my sculptural works to suggest the internal cavity that exists within. While the engraved silver drawing is subtle, creating a quiet contrast to the black aluminium surface it nevertheless reflects the importance of texture, light and colour to create visual depth.
Katika Schultz
Tumbleweed Woman, 2025, monoprint on 9gsm Tengucho paper, 96 x 106 cm, $2800 unframed
Katika Schultz is a Sydney based artist working across multiple printmaking techniques. Her work investigates the cyclical and unrelenting nature of motherhood and care work, seeking to honour and commemorate these lived experiences, a space where love, burden, joy, and endurance intertwine. Becoming a mother in 2023 profoundly shifted both Katika’s life and her artistic lens. Like many new mothers, she was confronted by the scarcity and inaccessibility embedded in public space: footpaths that abruptly disappear, toilets without pram access, and a generalised invisibility enforced by systems and environments not designed for caregiving. This awakening highlighted how deeply the built world centres the able-bodied, independent male subject, often excluding elders, children, mothers, animals and disabled people. In response, Schultz’s practice interrogates these structural absences. Through large scale print, softness, and repetition, she documents the quiet, constant, and often unseen labour of care. Her work seeks to elevate maternal experience into public visibility, positioning motherhood as monumental and 'in your face' to help create more discussion around the beauty, turmoil and ambivalence of care work.
Richard Trang
Where To Now? 2025, inkjet print from 35mm negative, 279 x 356 mm (framed), $200
This work employs the pinhole camera as a deliberate means of obscurity. From afar, the image conveys recognition — two figures and a landscape. At close distance, clarity recedes and the once recognisable subjects dissolve into a backdrop of monotone.
Where To Now? 2025, activates the metaphorical space that images hold us within. It is familiar, yet unsharp, encouraging an ebb and flow of: looking, stepping in to seek clarity, and stepping back out to refocus. A spatial encounter, this instability becomes the subject matter and draws a contemplative, quiet form of attention.
Beatrice Weidner
Kali's Dance, 2025, weaving, various materials, 78 x 48 cm, NFS
My work explores the cycles of desolation and renewal in nature. I also examine the philosophical, mythological, and religious aspects relevant to these cycles. In this work, the ancient Hindu goddess Kali dances through the woven fabric of the cosmos, creating endless cycles. She is revered as the destroyer of all that is impermanent, granting transcendence to her devotees. At the same time, as the eternal creative life force, or Shakti, she also fosters the evolution of the cosmos, cycling from the void to the manifest.