3 sides: kyle jenkins / giles ryder / david thomas

26.08.26 - 11.09.26

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3 sides

sides, curated by Jeremy Kibel, brings together Kyle Jenkins (Toowoomba), Giles Ryder (Thailand), and David Thomas (Melbourne). Across painting, sculpture and installation, the artists have developed distinct languages of abstraction through colour, material and space. KYLE JENKINS

KYLE JENKINS

Kyle Jenkins’ Duo-Chrome Paintings brings together four works, each composed of two shaped monochrome canvases conceived as a single painting. Through colour, shape, scale and surface, Jenkins considers the fundamental conditions of painting.

Each pairing establishes a relationship in which colour is altered through proximity. The shaped supports bring the edge into play, placing each work in direct relation to the wall, architecture and viewer. Drawing on the histories of monochrome and geometric abstraction, Jenkins approaches these forms as an ongoing field of enquiry, using repetition and restraint to examine the relationships between colour, surface, object and space.

Rather than seeking a single or unified position, 3 sides considers what emerges between the works: where they meet, where they remain apart, and what becomes visible in the space between them.

The works are constructed through an iterative process of copying, alteration, and reconstruction. Beginning with the printed patterns found inside security envelopes, Haufe subjects his source material to successive acts of reproduction, scaling, inversion, and collage. As these operations accumulate, the original image gradually disappears. Copying no longer serves to preserve an image but to transform it, allowing new forms to emerge through repetition.

Composition develops through continual revision. Fragments are added, removed, rotated, and reworked until relationships of rhythm, density, movement, and interval begin to settle. Acrylic paint and occasional relief interrupt the regularity of the photocopied surface, reinforcing the work's shifting relationship between image and object.

GILES RYDER

Giles Ryder’s practice is grounded in geometric abstraction, using grids, repeated forms and intersecting lines across painted and constructed surfaces. Acrylic, transparent gesso, metallic and holographic pigments and glitter introduce reflective and translucent qualities to ordered compositions.

Ryder makes the construction of the painting visible. Canvas may be fitted with eyelets, suspended, or stretched across exposed steel frameworks. These methods bring structure and surface into direct relation. Geometric order is set against materials whose appearance shifts with changing light and viewpoint.

David Thomas

The monochrome is never encountered in isolation. Its apparent simplicity is contingent on the space, light, colour, and conditions through which it is perceived. Across his practice, David Thomas has returned to the monochrome as both a material presence and a temporal proposition, exploring its capacity to articulate experiences of time and space. Neither an endpoint nor an act of reduction, the monochrome functions here as an interval: a moment of suspension that heightens awareness of relationships within and beyond the work. In this sense, painting becomes less a self-contained object than a means of attending to the world around it.

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