Exhibition

A Tear in the Fabric

<p>A Tear in the Fabric</p>

When

19 September 2025 -
09 November 2025

Location

Bathurst Regional Art Gallery

Wiradyuri Country, 70/78 Keppel St, Bathurst, NSW

Exhibition opening day celebrations and performance by Hirofumi Uchino (aka Defektro)
Friday 19 September 2025, 6pm – 8pm

The idea of distortion represents a radical shift in aesthetic treatment and conceptual methodology which picks apart established rules which serve to dictate the status quo. For centuries, artists have twisted and transgressed formal boundaries to enact and depict cultural shifts.

A Tear in the Fabric presents new and existing works from nine Asian and Asian Australian artists who embrace distortion as a mode of disruption. It revolves around notions of aesthetic, material and conceptual interventions integrated into established forms of creative practice. Picking at the seams to make space for new narratives and artistic approaches, we see exploratory excursions into concepts of place, materiality, memory, identity and perception, manifesting in a diverse range of mediums.

Access the exhibition roomsheet here.

Read the exhibition artwork labels here.

A Tear in the Fabric (exhibition view), 2025, Bathurst Regional Art Gallery
Leyla Stevens, GROH GOH (Rehearsal for Rangda), 2023, single channel video, 28 min, exhibition view, Bathurst Regional Art Gallery.
Tiyan Baker, Player Count One: Studies of Bung Sadung in Fortnite, 2025, exhibition view; Visaya Hoffie, Silent Series, 2025, exhibition view.
Tiyan Baker, Building a longhouse at the site of the first Bukar Bidayǔh settlement, 2025, digital video, sound, bamboo, nuts, bolts, sisal rope, wire; Tiyan Baker, Top view of Bung Sadung and surrounding villages, 2025, digital print mounted on dibond; Tiyan Baker, Ancestral longhouse - view from inside topography at night, 2025, digital print mounted on dibond; Tiyan Baker, Ancestral longhouse - view from inside topography at midday, 2025, digital print mounted on dibond; Tiyan Baker, Ancestral longhouse - birds eye view in the morning, 2025, digital print mounted on dibond. All works courtesy of the artist.
Visaya Hoffie, Silent series, 2025, acrylic house paint on felt, four panels. Courtesy of the artist.
Jenna Meyilema Lee, Poetry in her body, 2025, found book cover, pages of ‘Myths and legends of Australia’, rice starch glue, mounted on 19mm Cradled Painting Panel; Jenna Meyilema Lee, In sun, moon and stars, 2025, found book cover, pages of ‘Myths and legends of Australia’, rice starch glue, mounted on 19mm Cradled Painting Panel; Jenna Mayilema Lee, dis/bound re/bound, 2021, Pages of ‘Aboriginal words and place names’, bookbinding thread, varnish. All works courtesy of the artist and MARS Gallery, Naarm/Melbourne
Jenna Meyilema Lee, Poetry in her body, 2025, found book cover, pages of ‘Myths and legends of Australia’, rice starch glue, mounted on 19mm Cradled Painting Panel; Jenna Meyilema Lee In sun, moon and stars, 2025 Found book cover, pages of ‘Myths and legends of Australia’, rice starch glue. Mounted on 19mm Cradled Painting Panel. All works courtesy of the artist and MARS Gallery, Naarm/Melbourne.
Jenna Mayilema Lee, dis/bound re/bound (detail), 2021, Pages of ‘Aboriginal words and place names’, bookbinding thread, varnish. Courtesy of the artist and MARS Gallery, Naarm/Melbourne.
Allison Chhorn, Disintegrate/Regenerate (‘Memory House’ Revisited), 2025, single-channel video, 12 min, 35mm black and white photographs, sheer linen. Produced by Chris Luscri. Courtesy of the artist.
Allison Chhorn, Disintegrate/Regenerate (‘Memory House’ Revisited) (detail), 2025, single-channel video, 12 min, 35mm black and white photographs, sheer linen. Produced by Chris Luscri. Courtesy of the artist.
Ali Tahayori, Kill Me Softly, 2024, hand-cut mirrors and plaster on vintage window frame, single-channel HD video, 2 min 53 sec. Courtesy the artist and this is no fantasy, Naarm/Melbourne.
Ali Tahayori, Kill Me Softly, 2024, hand-cut mirrors and plaster on vintage window frame, single-channel HD video, 2 min 53 sec. Courtesy the artist and this is no fantasy, Naarm/Melbourne.
A Tear in the Fabric, exhibition view, 2025, Bathurst Regional Art Gallery.
Khaled Sabsabi, South @ Part B, 2017–19, 22 acrylic, enamel paint and oil stick on canvas, MDF board and paper; Khaled Sabsabi, Tawla, 2011, single channel HD video installation, 12m, TV, audio, adapted coffee table, wood and acrylic paint. All works collection of the artist.
Khaled Sabsabi, South @ Part B (detail), 2017–19, 22 acrylic, enamel paint and oil stick on canvas, MDF board and paper. Collection of the artist.
Khaled Sabsabi, Tawla, 2011, single channel HD video installation, 12m, TV, audio, adapted coffee table, wood and acrylic paint. Collection of the artist.
Hirofumi Uchino (aka. Defektro), The Taste of Poisons 3, 2025, metal sheets (iron, brass, copper, aluminum, titanium, tungsten, indium) and vibration speakers with sound. Courtesy of the artist.
Hirofumi Uchino (aka. Defektro), The Taste of Poisons 3 (performance documentation), 2025, metal sheets (iron, brass, copper, aluminum, titanium, tungsten, indium) and vibration speakers with sound. Courtesy of the artist.
Zico Albaiquni, In the Search of Lukis in the Sense of What It Used to be (Mencari Arah menuju pengertian lukis sedia kala), 2024, oil and giclee on canvas. Courtesy of the artist and Ames Yavuz, Gadigal/Sydney.
Zico Albaiquni, In the Search of Lukis in the Sense of What It Used to be (Mencari Arah menuju pengertian lukis sedia kala) (detail), 2024, oil and giclee on canvas. Courtesy of the artist and Ames Yavuz, Gadigal/Sydney.
A Tear in the Fabric, exhibition view, 2025, Bathurst Regional Art Gallery.
  

Photos by Silversalt Photography