Moore Contemporary

CURRENTLY ON VIEW as a part of DARK M**O 2026.

‘The Dogs’ by ABDUL-RAHMAN ABDULLAH presented beautifully and powerfully at ROSNY BARN, Hobart Tasmania.

Thank you to the team and

📸 Nina Hamilton

Courtesy the Artist, MOORE CONTEMPORARY and private collection. Enquiries: [email protected]

INSTALLATION VIEWS of select works by JACOBUS CAPONE in ‘TRACEWORK’ SOUTH WEST BIENNIAL, 2026

Bunbury Regional Art Gallery - on view until 19th July.

Curators: Dr Michael Bianco and Dionne Hooyberg.

1. ‘7 Cuts to the Landscape’, 2020
2 channel HD video with sound, 7:05 mins

2. ‘Scar/Southern’, 2018
Tasmanian glacial water mixed with white gouache

3. ‘Forewarning ( Act 3)’, 2022,
HD video with sound
9:14 mins

SUNDAY STOCKROOM

TOVE KJELLMARK
Come as you are, 2025
bronze
23 x 21 x 19cm

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