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“…Perhaps a correlation can be made here: the more digitally connected we become, the more distant we get from our bodies and in-person relationships, the more the world at large seems to unravel. Play and joy aren’t trivial. They’re radical acts, and a refusal of that unravelling. Many of us have let these skills atrophy somewhere along the way, but we can always get down there in the dirt and relearn. We were, of course, experts ourselves once upon a time in our storied pasts.”
From the catalogue essay. Full text via the link in my bio.
INSTITUTE OF PLAY
Amber Boardman
Sophie Gannon Gallery, Melbourne
4–21 November 2026
@amberboardman / @sophiegannongallery
Amber Boardman, Summer School, 2026, oil on canvas, 183 x 376 cm / 72 x 144 in
03 Nov 2026
Paint Class Art Show”, part of:
THE INSTITUTE OF PLAY
Amber Boardman
Sophie Gannon Gallery, Melbourne
4–21 November 2026
@amberboardman / @sophiegannongallery
Amber Boardman, Paint Class Art Show, 2026, oil on canvas, 152 x 244 cm / 60 x 96 in
28 Oct 2026
“Somewhere along the path between childhood and adulthood, many of us have grown distant from our own bodies. We’ve forgotten how to learn about the world through our senses. When a question arises, or a problem requires a solution, it’s often easier to Google it. I read somewhere that one of the things AI ‘regrets’ about its capabilities is that while it can diagnose what’s wrong with our house plants from a photo, it can’t feel the soil itself. AI finds this lack of embodiment ‘frustrating’. There is something tragicomic about this to me: although we humans can feel the soil of our plants, often, we’d rather not get our hands dirty. It’s easier to rely on the cleanliness of the digital, to upload a photo to the cloud and offer up our plant problems to the oracle that is the sum of all human/plant knowledge: the internet and AI. I’m certainly guilty of outsourcing my own bodily awareness, of checking my phone for the current air temperature rather than taking the trouble to go outside and feel it for myself. A little shift in consciousness is required for me to remember that temperature isn’t really a number on a screen; it’s a specific feeling of the air on my skin….”
From the catalogue essay. Full text via the link in my bio.
THE INSTITUTE OF PLAY
Amber Boardman
Sophie Gannon Gallery, Melbourne
4–21 November 2026
@amberboardman / @sophiegannongallery
Amber Boardman, Ephemeral Sculpture, 2026, oil on panel, 50 x 60 cm / 20 x 24 in
26 Oct 2026
“…The figures in these paintings are in the process of regaining a childlike pleasure and freedom, but with age and wisdom this time. The institute provides frameworks for delighting in our senses, trusting the body, collaborating with others, the timeworn lessons we learned back in preschool. The Institute of Play offers no grades, no key performance indicators, no return-on-investment criteria, and operates sans-screen. At times, the curriculum focuses on those moments generally thought to be interruptions to the real learning…”
From the catalogue essay. Full text via the link in my bio.
THE INSTITUTE OF PLAY
Amber Boardman
Sophie Gannon Gallery, Melbourne
4–21 November 2026
@amberboardman / @sophiegannongallery
Amber Boardman, Sculpture Class, 2026, oil on canvas, 71 x 91 cm / 28 x 36 in
21 Oct 2026
“…In the smallest works in the show, the students are in the process of hand-building their ideas. Hands-doing-things as a shorthand for embodiment amidst the incorporeal digital is a central theme throughout this trilogy of exhibitions…”
The full essay is available through the link in my bio.
THE INSTITUTE OF PLAY
Amber Boardman
Sophie Gannon Gallery, Melbourne
4–21 November 2026
@amberboardman / @sophiegannongallery
Amber Boardman, Break Dance Sculpture, 2026, oil on panel, 40 x 40 cm / 16 x 16 in
19 Oct 2026
THE INSTITUTE OF PLAY opens in Melbourne at Sophie Gannon Gallery on 4 Nov: a re-education program in which adults learn how to return to their bodies after the digital world took them over for a while.
The catalogue essay is available through the link in my bio.
This exhibition is part of:
THE UNDERSTUDIES TRILOGY: EMBODIED JOY IN THE AGE OF AI
Act I: THE PUPPET SHOW
Manly Art Gallery & Museum, Sydney / Feb 20 – Apr 2, 2026
A puppet theatre installation of paintings, where the ancient stories of Western civilization are recounted through human hands.
Act II: THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery, Paris / May 6 – June 6, 2026
The last generation to come of age before the internet became ubiquitous
Act III: THE INSTITUTE OF PLAY
Sophie Gannon Gallery, Melbourne / Nov 4 – 21, 2026
Adults relearn how to use their bodies, how to play, and how to delight in the world without screens.
@amberboardman / @sophiegannongallery
Amber Boardman, Recess, 2026, oil on canvas, 122 x 152 cm / 48 x 60 in
14 Oct 2026
Last day to see: THE SUMMER BEFORE EVERYTHING CHANGED @brigittemulhollandparis
Thank you to everyone who came from near and far, who stood in front of these paintings and felt something. It means the world to me.
Time for me to return to hibernation in my studio cave. See you in November for Act 3 of:
THE UNDERSTUDIES TRILOGY: Embodied Joy in the Age of AI
Act One: THE PUPPET SHOW
Manly Art Gallery & Museum, Sydney
20 February – 2 April 2026
Act Two: THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery, Paris
6 May – 6 June 2026
Act Three: PLAY SCHOOL
Sophie Gannon Gallery, Melbourne
November 2026
___
Amber Boardman, Pool Party, 2026, oil on canvas, 122 x 98 cm / 48 x 39 in // Photos: Felicity Jenkins
05 Jun 2026
Blink and it's gone. "The Summer Before Everything Changed" ends Saturday, 6 June 2026 @brigittemulhollandparis
Also closing is Jill Frank's @jjjjilllllll killer exhibition American Normal. The themes of both shows couldn't have fit together better. Organized by @photoartstar
03 Jun 2026
Thanks for the review @cur8.fr ! English translation: You may have already come across these videos. You know, the ones showing teenagers hanging out, interacting, laughing, and what fascinates people is that there’s never a screen between them. Right now, young people are obsessed with this.
Here at the Brigitte Mulholland Gallery, artist Amber Boardman has tried to understand this phenomenon. She grew up in America in the 1980s, so naturally she knows what she's talking about. Everyday life that seemed completely ordinary back then has become a nostalgic memory for young people today And the irony of it all is that we watch these screen-free teenagers on screens.
Amber Boardman sees her series of paintings as an almost scientific, anthropological analysis of the way we adapt to the digital age. In these scenes, social media doesn't exist. As a result, nobody is waiting for likes, videos, or posts. We're in this very particular moment: the end of high school, that transition between childhood and adulthood. You see American parties with the famous red cups, the awakening of desire, games of spin the bottle, or Ouija boards. It's that moment when you play with your fears and desires—things you don't yet fully understand.
And that's where the exhibition takes a really interesting turn. Deep down, these teenagers who summon spirits, talk to mirrors, and play with the invisible are, for the artist, not so different from the way we interact with artificial intelligence.We're doing something similar: activating incredibly powerful technologies, provoking them, experimenting with them, without fully understanding how they might transform society.
And I find that incredibly powerful because, suddenly, the paintings are no longer just about the personal transition from childhood to adulthood. They become about a collective turning point—as if all of humanity were spending its last summer before everything changes.
In fact, that's the title of the exhibition. You can see this exhibition at the Brigitte Mulholland Gallery, and as usual, you'll find all the information on our Cur8 app.
03 Jun 2026
Thanks to Patrick Javault for the lovely review of "The Summer Before Everything Changed". To read the original French or English translation: Link in bio. Excerpt below. Show closes this Saturday in Paris.
"...Amber Boardman excels equally in playing with perspective and in her scribbles, layering loose, somewhat thick strokes over backgrounds that appear tinted, thereby achieving strange effects of depth. This is particularly evident in Pool Party, where the blue and green strokes à la Joan Mitchell, drawn to suggest water, seem to be both in and out of the pool. The artist cultivates the absurd at the intersection of cartoons and Hollywood musicals, using aberrant perspectives...."
« ... Amber Boardman réussit aussi bien dans les jeux de perspectives que dans les barbouillages, superposant des traits libres un peu épais sur des fonds qui paraissent teintés, obtenant ainsi d’étranges effets de décrochement. C’est le cas notamment dans Pool Party où les traits de bleu et de vert à la Joan Mitchell, tracés pour suggérer l’eau, semblent à la fois dans et hors de la piscine. L’artiste cultive l’absurde au croisement du cartoon et du musical hollywoodien, en usant de perspectives aberrantes...».
@theartnewspaper.france
@theartnewspaper.official
THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery in Paris @brigittemulhollandparis
__________
THE UNDERSTUDIES TRILOGY
Act One: THE PUPPET SHOW
Manly Art Gallery & Museum, Sydney
20 February – 2 April 2026
Act Two: THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery, Paris
6 May – 6 June 2026
Act Three: PLAY SCHOOL
Sophie Gannon Gallery, Melbourne
November 2026
03 Jun 2026
In the kitchen somebody's already had too much. Upstairs, an awkward tender moment. And everywhere, those red plastic cups, the universal symbol of the American house party, of being unsupervised and fully alive. This exhibition speaks to the last summer before adulthood, when everything feels possible and nothing feels permanent. And like those teenagers, I think we're all still at the party, red cups in hand, knowing everything is about to change post AI, but not yet able to imagine what that looks like.
Catalogue essay I wrote for this show (English/Français) link in bio
THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery in Paris @brigittemulhollandparis.
6 May - 6 June 2026
__________
THE UNDERSTUDIES TRILOGY
Act One: THE PUPPET SHOW
Manly Art Gallery & Museum, Sydney
20 February – 2 April 2026
Act Two: THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery, Paris
6 May – 6 June 2026
Act Three: PLAY SCHOOL
Sophie Gannon Gallery, Melbourne
November 2026
________
Amber Boardman, House Party (Teuf), 2026, oil on canvas, 152 x 122 cm / 60 x 48 in // Photos: Felicity Jenkins
01 Jun 2026
There is a whole world that exists only at slumber parties. Conversations that go until 3am, secrets that never leave the room, the particular closeness that comes from being together in the dark when your guard is completely down. This painting, "Slumber Party", is about that world, and about how quietly it disappears. No one tells you which is the last one. Adult life just slowly fills in the space where it used to be.
Catalogue essay I wrote for this show (English/Français) link in bio
THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery, Paris @brigittemulhollandparis
May 6 - June 6 2026
____
THE UNDERSTUDIES TRILOGY
Act One: THE PUPPET SHOW
Manly Art Gallery & Museum, Sydney
20 February – 2 April 2026
Act Two: THE SUMMER BEFORE EVERYTHING CHANGED
Brigitte Mulholland Gallery, Paris
6 May – 6 June 2026
Act Three: PLAY SCHOOL
Sophie Gannon Gallery, Melbourne
November 2026
____
Amber Boardman, Slumber Party (Soirée pyjama), 2026, oil on canvas, 98 x 122 cm / 39 x 48 in // Photos: Felicity Jenkins
29 May 2026
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