Moore Contemporary

FINAL DAY

CAITLIN YARDLEY - ‘Relational Painting’

Visit to revel in the materiality of assembled, stitched, folded, wrapped, tucked goat leather and cut metal. Where pattern and edges disrupt the formality of the field and become object.

YARDLEY states:

“Goat leather is not just a surface, it has memory and a grain. When you quilt with it,
you become aware that it is both tough and tender. It holds light in a particular way – it
is matte but not lifeless. It also retains the fact of having once been a body. This brings
something intense and deliberate to working with it. I have thought of goat leather as a
material link to peripheral vision for many years – informed by the goat’s unusually wide field of vision. This idea acknowledges that the connection between things is not always obvious, or even real, but becomes real because I am holding both in view at once.

Many of my projects are built on this, through proximity or through the collision between
one history and another.”

Image 1: External view

Image 2: ‘Relational Painting No. 30’, 2026
quilted aniline goat leather
30 x30 x4cm

📷 Courtesy MOORE CONTEMPORARY

LAST DAYS to visit ‘Relational Painting’ by CAITLIN YARDLEY.

Closes Saturday 30th May

Wall view:

Left: ‘Relational Painting No 16’, 2025
quilted aniline goat leather
40 x 25 x 5cm

Right: ‘Relational Painting No. 24’, 2026
quilted aniline goat leather
40 x 25 x 5cm

Catalogue available by request.

Email: [email protected] or DM

DETAILS, EDGES.

Working in assembled leather CAITLIN YARDLEY creates covetable objects where seams, shapes, colour and folded edges convey authenticity in their irregularity and material tactility. Their restraint is both palpable and satisfying.

YARDLEY explains:

“Goat leather is not just a surface, it has memory and a grain. When you quilt with it,
you become aware that it is both tough and tender.” It holds light in a particular way – it
is matte but not lifeless.”

Catalogue essayist KATRINA SCHWARZ further comments perceptibly:

‘The quilting of goat leather intensifies the negotiation of abstraction: each seam
registers a decision, each adjustment remains visible. Surfaces wrap around edges so that painting behaves as object. In a development from ‘Mobile Composition’, the
introduction of colour and tonal shifts in ‘Relational Painting’ creates further
contingencies, while the material itself resists stable resolution.’

Image:
Gallery view
‘Relational Painting No 32’, 2026
quilted aniline goat leather
45 x 30 x 5cm

Adjacent to the edge of ‘Relational Painting No 62’, 2017

Image courtesy MOORE CONTEMPORARY

CAITLIN YARDLEY, ‘Relational Painting’ on view until 30th May.

CAITLIN YARDLEY - ‘RELATIONAL PAINTING’
Now on view until May 30.

‘Relational Painting No 17’, 2025
quilted aniline goat leather
35 x 25 x 5cm
Images courtesy MOORE CONTEMPORARY

In the accompanying catalogue essay by Katrina Schwarz, she quotes from Yardley’s writing in relation to the material:

“Goat leather is not just a surface, it has memory and a grain. When you quilt with it,
you become aware that it is both tough and tender. It holds light in a particular way – it
is matte but not lifeless. It also retains the fact of having once been a body. This brings
something intense and deliberate to working with it. I have thought of goat leather as a
material link to peripheral vision for many years – informed by the goat’s unusually wide field of vision. This idea acknowledges that the connection between things is not always obvious, or even real, but becomes real because I am holding both in view at once. Many of my projects are built on this, through proximity or through the collision between one history and another.”

Katrina Schwarz further observes:

‘The quilting of goat leather intensifies the negotiation of abstraction: each seam
registers a decision, each adjustment remains visible. Surfaces wrap around edges so that painting behaves as object.’

It was a pleasure to welcome members of the Collectors Club to a Sunday conversation with Artist CAITLIN YARDLEY and ANNIKA KRISTENSEN, Curator of Fremantle Biennale.

YARDLEY’S insights into the development of her project were especially insightful and contextual while sitting within her exhibition of works in aniline goat leather and galvanised steel.

‘Relational Painting’ is now on view until 30th May. Catalogue with an essay by KATRINA SCHWARZ, Curator Whitechapel Gallery accompanies the project.

Images: Courtesy MOORE CONTEMPORARY

📍Cathedral Square
1/565 Hay Street
Perth
Australia

Enquires: DM or Email: [email protected]

SCENES AT AN OPENING.

CAITLIN YARDLEY ‘Relational Painting’ now open and on view until 30th May. Thank you to all who joined us to celebrate the exhibition.

Thank you Caitlin for your considered project and commanding installation.

In the current issue ART COLLECTOR, April-June 2026.

JACOBUS CAPONE included in the South West Biennial’ Tracework’. Curators, Dr Michael Bianco and Dionne Hooyberg.

Image:
still: ‘7 Cuts to the Landscape’, 2020
Two-channel synchronised HD video

CAITLIN YARDLEY profiled by Katrina Schwarz ahead of her forthcoming solo exhibition, ‘Relational Painting’ presented in the Gallery, Cathedral Square 1st - 30th May.

Image:
Installation view in the artist’s London studio. ‘Relational Painting’ 2026
quilted aniline goat leather, galvanised steel
📸 Lucy Dawkins

PROGRESSIONS. On the move and coming soon.

Final weeks at our interim address Cottesloe ahead of opening ‘Relational Painting’ by CAITLIN YARDLEY at Cathedral Square on 1st May.

1. Facade view 26 Napoleon Street, Cottesloe

2. Preparation time at Cathedral Square

3. External view Cathedral Square Gallery during the exhibition ‘Falling from Earth’ by JACOBUS CAPONE, Feb- March, 2023

4. Preview - studio view CAITLIN YARDLEY
📸 Lucy Dawkins

5. Detail,
CAITLIN YARDLEY
‘Relational Painting No. 18’, 2026
quilted aniline goat leather,
galvanised steel
136 x 98 x 5cm
📸 Lucy Dawkins

SATURDAY VIEWS. Installation of significant selected works by Gallery artists currently on view at our interim space.

OPEN across the weekend. Sat 10:00am 4:00pm. Sun 11:00am - 2:00pm or by appointment.

26 Napoleon Street, Cottesloe.

Featured Detail Views:

JOSHUA WEBB
‘Smoke’, 2023
Accura and automotive lacquer
140 x 102 x 102 cm

ABDUL ABDULLAH
‘We can work it out’, 2018
oil on linen
150 x 120cm

IAN WILLIAMS
‘Dressed to Kill’, 2023
oil on wood panel
30 x 45cm

IAN WILLIAMS
‘Meta Props’, 2023
oil on wood panel
27 x 45cm

Also included works by MARION BORGELT, ABDUL-RAHMAN ABDULLAH, TOVE KJELLMARK, MATTHEW HUNT, JOHN YOUNG.

MOORE CONTEMPORARY will be closed for the Easter period, re-opening Wednesday 8th April.

Image:

JOHN YOUNG
detail: ‘Shiva # # ’, 2022
oil on Belgian linen
71 x 89.5cm

All enquiries: [email protected]

Cathedral Square open by appointment until May 1st when the solo exhibition ‘Relational Painting’ by CAITLIN YARDLEY is launched.

Napoleon Street open regular hours from 8th April.

SUNDAY STOCKROOM

PILAR MATA DUPONT
‘The Madman is a Dreamer Awake’, 2013-15
giclée prints
83 x 123cm each (framed)
Ed 5

‘This photographic series, ‘The Madman is a Dreamer Awake’ takes its title from a quote of Freud’s in ‘A Metaphysical Supplement to the Theory of Dreams’ ( 1917) where he alludes to Kant’s conception of the madman as a waking dreamer. The images depict my visual interpretation of a dream Freud himself had while on holiday in Schönau in 1898, of ancient Roman ruins placed in Alpine settings, reflecting his ‘neurotic’ longing for Rome - a place he only managed to visit in September, 1901.’

Pilar Mata Dupont

Images that are imaginative and cinematic in tenor, mood and colouration. This series is both filmic and sublime, and while they are a stand alone series they correspond with a video by the artist filmed in the same Bavarian region entitled ’Mountain’. This video was awarded the Plymouth Contemporary Art Prize in 2015.

Enquiries: [email protected]