marble, MDF, stainless steel, perspex

63 x 27 x 27 cm (marble)
100 x 55 x 55 cm (artwork plinth)

Yusuké Takemura

Presenting his second-ever hand-carved marble sculpture, Dimensions of the Mind II (2025–2026). Taking the form of the artist’s body, the work reflects on the state of body and mind, with organically carved shapes within the marble representing memories the artist holds. Grey marble has been specifically chosen, as it is not black and white, connecting to the artist’s glass practice, and poetically representing the space in between. The work carries intricate detail achieved entirely by hand, a rare feat in an era of automated carving.

Prue Venables

Honoured with the title of Australian Living Treasure and a Loewe Foundation Craft Prize finalist, Prue Venables will present new, finely made ceramics in her internationally acclaimed style.

Recognised worldwide for her exceptional mastery of porcelain, Venables is celebrated as one of Australia’s most accomplished and visionary ceramicists. Her work over the past forty years has evolved from traditional and functional objects to sculptural entities that inventively play with form and space.

Prue Venables highly anticipated first solo exhibition with Gallery Sally Dan-Cuthbert will open 31 October and run until 5 December 2026.

Rhoda Ting & Mikkel Bojesen

Following a recent commission for King Frederik X and Queen Mary of Denmark installed in the Royal Palace in Copenhagen, and the duo’s first Australian survey exhibition, Hybrid Futures, at Artbank Melbourne earlier this year, GSDC will present works from that exhibition. This marks the first time the artists’ work has been shown at an art fair in the Southern Hemisphere, and the first presentation of these specific works in Sydney. On exhibition and available for acquisition will be the widely coveted Landscape Portrait, the AI-informed sculpture We Are All Hybrids, Skagerrak 2, and a photograph from the  Quantum Field series. The presentation demonstrates the breadth of the artists’ practice.

Donna Marcus

Ahead of Marcus’s third survey exhibition SCALE, opening this December at Gosford Regional Gallery, one of Australia’s preeminent and first assemblage artists will present a new monochrome aluminium wall work. The piece continues her ongoing investigation into modernism, minimalism and feminism, movements that collided through the 1960s and ’70s.

Coinciding with Sydney Contemporary will be Donna Marcus’ second solo exhibition at Gallery Sally Dan-Cuthbert. The exhibition brings together ten works, including the well-recognised series GABO i–viii (2022–2023), a suite of illuminated wall sculptures made from highly perforated aluminium kitchenware collected by the artist over thirty years. Available for acquisition for the first time, GABO i–viii's radiating, lace-like patterns, amplified by integrated lighting, draw on the artist's family history and the histories of modernist painters at Sydney's Berrys Bay.

Rive Roshan

Over the past decade, Rive Roshan has garnered an international following thanks to works that combine ethereal aesthetics, poetic narratives, and technical innovation. Using a unique glass marquetry technique, their series of intricate works entitled Windows is inspired by moments they observed and photographed from their Amsterdam home and studio when water met sky: “Like the Impressionists who sought to translate ephemeral effects of light and atmosphere into lasting artistic interpretations, we aim to preserve these moments, not through painting, but through textured glass, reflection, and light itself. Each piece captures a specific moment, yet continues to transform in its new context. They move with the viewer, capable of surprising again and again.”

Olive Gill-Hille’s figures are part of a body of work that continues the artist’s exploration of the idea that we are natural gatherers, collecting memories through physical tokens; ideas that originated in Memento, a work exhibited in the prestigious Rigg Design Prize 2025 and acquired by the National Gallery of Victoria. Gill-Hille transforms timber, a traditionally static material, into involved works of art that reference the human body. There is a strength required in Gill-Hille’s transformation of timber and in using the requisite machinery and equipment that brings the artist’s own physical structure into acute focus. Importantly, this is amplified by that structure’s femininity; shapes of the feminine are reclaimed in these works, which are in dialogue with the modernist sculptures of male artists such as Constantin Brâncuși, Isamu Noguchi and Jean (Hans) Arp.