DOMICILE
ADAM COLE - CHIARA KOSTOGLOU - MIRANDA WESTAWAY
ADAM COLE
Foreground Dwelling (2024)
Materials: Cardboard, hot-melt glue, wood and paint. 10-minute digital video, B&W, sound, 40-inch LED TV
Dimensions varied
Foreground Dwelling explores the structures we inhabit and the integrity of knowledge surrounding us by examining the body as architecture and architecture as the body. It mirrors how we are objects in space and occupy the space of our minds. This work flips the dynamic between external and internal, inviting the viewer to reconsider their perceptions of space, truths and self. This installation serves as a meditation on perspective—what is revealed, what is concealed, and how we navigate these layers, both personally and universally. The birdhouse becomes a vessel for questioning how we experience our world, challenging our understanding of our place within it. It’s simple form and complex obscured internal images encourage reflection on the boundaries between what we see and what remains unseen. Foreground Dwelling transcends being merely a birdhouse or a commentary on nature; it reflects the limits of our perception, the unseen forces that shape our experiences, and the space we occupy—both physically and mentally.
Other work by Cole in DOMICILE
Untitled (Fence) (2025)
Materials: Cardboard, hot-melt glue, wood, paint, and cotton thread
Adam Cole is a multidisciplinary artist born in Melbourne and currently living and working in Brisbane, and is currently pursuing a Bachelor of Visual Arts at Queensland College of Art and Design (QCAD), majoring in sculpture. He combines new and used common building materials and appropriated waste to explore themes of perception and representation, often evoking the body and the physical and psychological spaces we inhabit. His dark, humorous, and enigmatic works distort and subvert viewers’ expectations of materials and space through scale and illusion. In recent years, he has participated in several group exhibitions and was selected to exhibit work in Contemporary Wearables 23, Biennial Jewellery Award and Exhibition, Toowoomba Regional Art Gallery, 2023.
CHIARA KOSTOGLOU
Silent Streets/Trees (2024)
Materials: Scanned lumen prints as archival inkjet prints
Dimensions: 29cm x 42cm (each)
Silent Streets/Trees explores the suburban and natural environments. It examines the interplay between absence and presence that extends from the home and through the environment or suburb surrounding —bringing focus to the quiet moments and details which are overlooked in the places we inhabit. This series explores themes of the home; the architecture of these intimate spaces and how the domestic environment can shape our identity. By abandoning the concept of self-portraiture, this series underlies the removal of human presence in places which inherently rely on it. With closer observation, this series uncovers what often becomes unnoticed within the household and reveals how the focus can shift significantly with the act of removing or discarding suburban content. Through an emphasis of layering and symmetry, Silent Streets/Trees constructs scenes that feel nostalgic yet disorienting. The combination of domestic chaos with the tranquillity of nature raises notions of finding comfort within the landscape and ultimately comfort within one’s identity.
Other work by Kostoglou in DOMICILE
Oikos (Home) (2025)
Materials: Black and white photographs inkjet prints
Dimensions: 42 cm x 42 cm (each)
$85 (each)
Oikos (2025) continues the exploration of Silent Streets/Trees, examining suburban and natural environments through shifting focus to black and white photographs. Departing from physical layering and printing techniques, this series explores digital manipulation, distortion and fragmentation.
Quiet Home (2025)
Materials: Digital video, shown on CRT TV
Quiet home (2025) expands on the themes from a previous work House Deprivation, revisiting the same photographic media in its original video form. This sequence captures the stillness and eerie atmosphere of the home, exploring the absence and presence of seeing a familiar space for the last time by documenting the intense environment and silent sounds of the domestic space.
Chiara Kostoglou is a Meanjin/Brisbane based visual artist completing a Bachelor of Visual Arts at Queensland College of Art and Design, Griffith University. Her practice spans across multiple disciplines, including photography, sculpture, printmaking, jewellery, and ceramics. Kostoglou explores notions of suburbia, perception of memory, identity and the body; focusing on intuitive and intricate processes that create uncanny yet homely and comforting artworks. Through reducing the presence of a subject, her artworks prompt viewers to contemplate personal and collective identity.
More About Chiara Kostoglou:
MIRANDA WESTAWAY
The Rib of Eve (2024)
Materials: Foam, nylon stockings, stuffing, cotton thread, expanding foam, plaster, latex, wooden furniture, 3 minute 11 second digital video, colour, sound, 40-inch LED TV
The Rib of Eve questions the precarious structure that can erupt within the family-unit and how the body reacts when confined to the home and the objects which collect inside of it. Contorted, fragmented and repeated through this work, the body begins to form a relationship with the architecture, blurring the uncanny with the familiar, and imbedding moments, thoughts, desires, which can become overlooked or neglected in the spaces we inhabit.
Constructed from ordinary household items, such as a chair, a table, a stool, this work isolates these items from the overflowing hoarder's nest which my mother has been compiling over the past thirteen years. Through the removal of these items from the home, a home which is unstable and uncertain, I begin to question the family dynamic; the collecting of things, the passing down of knowledge, the creation of life, of pain, of suffocation and entrapment. The body, clambering through this excess of materials, becomes fragmented within the disorder, the muck of home, the unease of familiar bond. Disembodied feet are perched atop surfaces, perhaps where they once sought stability. Hands stretched out in hopes for connection, only to be met with a closed fist, a closed mind.
Miranda Westaway is a Brisbane-based artist currently undertaking a Bachelor of Visual Arts at Queensland Collage of Art and Design. Her work expands across disciplines, from painting, sculpture, printmaking, and most recently video/installation. Prominent within her work are themes of the self, memory, otherness, and a fascination with all things melancholy and at times morbid. Westaway continues to draw inspiration from the likes of Louise Bourgeois, Dorothea Tanning, Francesca Woodman, and Sarah Lucas, among many others. Not too unfamiliar from that of the late expressionists and surrealists, Westaway seeks to give form to the kooky and melancholic rattle that lives inside her mind.
More About Miranda Westaway:
WEB: mirandawestaway.com
E-MAIL: mirandawestaway@gmail.com
