All That Returns
Joanna Buckley Laura Dubsky Rebecca Jones Jacinta Maude Elif Sezen
February 6th – 28th, 2026
All That Returns brings together five Naarm (Melbourne)-based artists – Joanna Buckley, Laura Dubsky, Rebecca Jones, Jacinta Maude and Elif Sezen – whose practices connect through abstraction and a shared sensitivity to the poetic nature of things. Working across sculpture, assemblage, drawing and digital media, the artists explore the intersections of material, memory and emotion. Presented together, their works create a multidimensional dialogue shaped by subtle correspondences and recurring gestures. The exhibition contemplates cyclical rhythms, the quiet beauty of return and transformation unfolding not in straight lines, but through loops, echoes, and spirals. Some works employ the circle as a symbolic motif, tracing pathways of renewal and continuity, while others evoke cycles through repetition, process, or material reconfiguration. Viewed as a whole, All That Returns proposes that everything – objects, relationships and ideas – exists within an ever-turning flow, where creation, decay and renewal intertwine in patterns both fluid and infinite.
Joanna Buckley’s practice spans sculpture, painting, and site-specific installation, grounded in minimal abstraction and a poetic relationship with nature. She explores transformation through materiality, light, space and process, evoking memory and emotional resonance. Scale and material presence envelop the viewer within a field of sensory vastness, where expansion becomes intimate, reimagining the sublime awe of historical abstraction through tenderness, perceptual sensitivity, relational interconnectedness and presence.
In her practice, Laura Dubsky explores physical and virtual archives, searching for fragments that activate visual memory. These analogue mementos offer a means to examine time, particularly Western linear perception. Photography disrupts temporal continuity; as a chronological inscription, analogue imagery remains tied to its moment of creation. Digital technologies, by contrast, detach photographic material from time, granting it plasticity and expanded modes of access. Situated between analogue and digital processes, Dubsky’s works occupy a space of transfiguration, prompting reflection on photography’s paradoxical relationship to time and memory.
Inspired by the rebellious spirit of young women musicians who unapologetically own their voices, Rebecca Jones fuses text from lyrics and image to create playful affirmations that disrupt outdated ideals and celebrate new, self-defined narratives of success, and equality.
Drawing on the cadence of domestic life, Jacinta Maude’s practice examines the rhythms of everyday and intergenerational connection, centring quiet acts that shape care and lived experience. Through ceramics and the common kitchen towel, she frames care as cyclical, labour sustained through repetition. Utilising materials known for their durability and strength – porcelain and steel – the works carry a restrained defiance: their messy, irregular surfaces resist minimalist polish, holding tension between the slow, tender gestures of caring that are rarely neat or celebrated, yet persistent and essential.
Elif Sezen’s works from her series, Presence, explore the interplay of space, colour and light in experimental landscapes that reflect on perception, memory and place. In these light portals/mystical gateways, colour becomes a subtle energetic force, guiding viewers through states of awareness, contemplation and healing. These works draw on various sources of inspiration including ‘quantum entanglement’ and Michel Foucault’s notion of ‘heterotopias’ – worlds within worlds – to evoke ethereal, alternate realities that are at once cosmic and deeply introspective.