RICHARD LEWER SYDNEY CONTEMPORARY ART FAIR

Hugo Michell Gallery brings four distinct Australian voices together at Sydney Contemporary, with new works by Richard Lewer, William Mackinnon, Georgia Spain, and Garawan Wanambi. Their practice spans memory, identity, and landscape, each offering a unique lens on the world.

Lewer’s series on Jesus’ miracles explores faith through layered acrylics. Mackinnon presents large, psychological landscapes that blend memory and symbolism. Spain debuts emotive abstract paintings inspired by ritual and spectacle, while Wanambi showcases ancestral larrakitj poles and bark paintings that honour sea Country.

The works are personal, political, and spiritual, forming a compelling and layered presentation.

Artist Statement

In his new body of work, Richard Lewer revisits the miracles of Jesus Christ – chosen not only for the theological prominence, but for how Richard remembers them from his childhood. The miraculous stories that left an impression.

Among Lewer’s chosen miracles – healing a leper, casting out demons, the resurrection, walking on water – many speak to the act of healing and reparation of the self. These themes hold deep personal resonance for Lewer, who reflects on the tendency people have to seek something greater when faced with illness or crisis. He notes that in times of physical vulnerability, he finds himself reaching out in hope – a response that is familiar to many, whether religious or not, and especially in moments of desperation or helplessness.

Faith emerges as an intangible construct; something that cannot be seen, held, or proven, yet has a profound influence on how we navigate the world. Lewer uses painting to grapple with this unseen quality, layering meaning, memory, and doubt into the surface of the work.

Painting, like faith, involves surrender and a willingness to engage with uncertainty. In this way, “Faith is like painting”, Lewer suggests. His loose, stained application of paint is a kind of alchemy, allowing the miraculous to emerge through ambiguity and suggestion.

‘The Miracles’ is less of a religious statement, and more of a study in human fragility, vulnerability, and hope. By removing Jesus as a literal figure from the work, Lewer opens up space for broader reflection – not on doctrine, but on our shared yearning for transformation, healing, and hope.

Enquiries to mail@hugomichellgallery.com