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curator, arts worker and artist - Assistant Curator, Art Museums, University of Melbourne PhD, Curatorial Practice, Monash University
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Unbelievably it’s already the final week of ‘Inter-narratives of hope; Stay away from nothing’ so, please join us for our finissage Argument Jams session in the Argument Lab with Danielle Freakley.
This Saturday October 24, 2–5pm at MADA Gallery.
Open to all, there will be live argument jams, card games, conflict resultions walk and talks, all in the argument lab.
‘A major structural anchor for this second show is Danielle Freakley’s instructional performance, Argument Jams. In my own research, I am trying to pull hope down from the speculative and lofty clouds of a deferred ‘later’ and look at it as a gritty, relational infrastructure. Freakley’s work does exactly this by intervening in the micro-dynamics of human speech, coercion, and obligation. It forces a hyper-awareness of how we construct consensus, conflict, and tender dependence through real-time conversations.’
- IHS on Danielle Freakley’s ‘Argument Jams’.
As with the first exhibition, Dennis Grauel designed our beautiful catalogue, printed artfully by Stray Pages. It features a poem by P. STAFF, an essay by Liz Smith, writing and illustrations by Liv Moriarty and a conversation between Bella and Paul.
A huge and heart filled thank you to all the artists and contributors across both exhibitions, it’s been such a pleasure to work together.
‘And so maybe our shared time navigating hope has not been with a compass or a clearly defined map, but rather as two people (old guys ha ha) scrounging through notions, feelings, limits, and so on, but holding fast an aim toward hope, rather than generating yet another ‘well-executed work of mourning for being’.’
- PB in conversations with IHS.
20 Oct 2026
‘Internarratives of Hope, Stay away from nothing’ - October 1-24 @ MADA Gallery.
ISABELLA: In our first iteration, Paul, we established the inter-narrative as a navigational tool for the near horizon, a way of anchoring ourselves within a stretched out present. I saw this play out as a dynamic and relational constellation of the sky, the earth, and immediate somatic intimacies. For this second show, our curatorial posture shifts. It is less about establishing those grounding, protective coordinates, and more about navigating the volatile, forked paths of decision making that occur when those very relations are thrust into conflict.
When system breakdown strips us of consensus, navigation becomes a radical, conflictual act of decision making. My question is about the shift from anchoring to steering: How do we steer forward when the very signs and lodestars we rely on are caught in a differend? If there is no consensus on what a liveable future looks like, how does, or can, curatorial pathfinding avoid becoming just another forced direction?
PAUL: When we first started working together on this residency, I felt that we already had a shared toolbox of concepts around relation and time. I don’t mean to say that our perspectives and ideas are in total alignment, but rather that the theme of hope, one quite foreign and troubling to me, could be worked through coherently between the two of us.
Hope, to me, seems like a genre of being always in dispute, yet when taken this way, does not simply continue the nihilistic pursuit of retelling ‘whether bitterly or gladly, the great narrative of the end of great narratives.’ And so maybe our shared time navigating hope has not been with a compass or a clearly defined map, but rather as two people scrounging through notions, feelings, limits, and so on, but holding fast an aim toward hope. It seeds a map of possibility and potential. No promises, no futures, but mole tunnels through the garbage heap.
Excerpt from a conversation between Paul Boyé & Isabella Hone-Saunders. Read the conversation in full in our catalogue, designed by Dennis Grauel.
George Watson
Tamara Marrington
Tamara Marrington & Aleks Danko
Liv Moriar
06 Oct 2026
🍃 winter in the boat
05 Sep 2026
We (Isabella Hone-Saunders & Paul Boyé) are excited to announce our second exhibition as a part of the MADA Curator-in-Residence Program. Thank you to Melanie Flynn, the MADA faculty and MUMA for the opportunity to collaborate on these exhibitions.
‘Inter-narratives of hope: Stay away from nothing’ will open October 1 at MADA Gallery, featuring works by Aleks Danko, Danielle Freakley, George Watson, Liv Moriarty, Michael Cook, P. Staff (c/o Triple Canopy) and Tamara Marrington.
For this second exhibition, the nature of the social - how we hope together - is the threshold for contingent perspectives on and against hope. On this threshold, directions are dowsed with unexpected compasses. Through several works and an ongoing instructional performance by Danielle Freakley, conflict and agreement are taken as navigational principles, complicating further into questions on responsibility and causation. The diagram is taken as an interface, but also as a means to record growth, frustration; lapses and voids.
‘Stay away from nothing’ stages several systems of pathos, plotted on nodes of cause. Through eventual consensus grows a garden-path of effects.
Please join us at MADA Gallery from 6pm, Thursday October 1 for the opening of this exhibition. The exhibition will run until October 24.
Design and catalogue by Dennis Grauel, Illustrations by Liv Moriarty
Supported by Creative Australia and the WA Government (CITS).
31 Aug 2026
jude-etel (aka poppy seed)
17th july ‘26
you arrived after 284 days of carrying you so close ~ our bodies once singular [babushka-d together, with my organs in rearrangement for 10 months] have just gone through this beautiful and violent splitting into two ~ an earth shattering rupture of selfhood and an excruciating, slow but eventually rocket launched entry into this galaxy
birthed three days after my waters broke and 48+ hours of labouring at home ~ complications lead us to emergency and then shortly after birth into the NICU - to see you with 8 pairs of hands busily working away on you and machines doing the work of your organs, was a horrifying terror & something so deeply out of our control, making it known in those moments we had no capacity to care for you how you needed ~ only to love you from afar without holding you for days
two names for future self-determination & in recognition of multiple meanings, significance and ancestries
firstly, after etel adnan ~ a long time favourite lebanese-american poet, artist & essayist, who wrote on the beauty of light and love, sea and fog, of resistance and exile, on politics and injustice ~ a tremendous voice that articulated matters of conflict and of liberation
when tracing the meaning and etymology of etel in old irish, it can mean little fire, to take flight or otherwise speaks to a bright and shining light ~ no doubt you will continue to be, and even since your earliest becoming have already become, my lodestar, a guiding star, a way to navigate through darkness
jude has roots to judaism, in acknowledgment of that long ancestry of my own, but the name also came to mean justice in latin, and so here sits a hopeful dedication to solidarity and to embarking on a lifelong pursuit for enacting what is just and what is brave for living with fervour and ferociousness
the deepest pools of love have sprung from somewhere unbeknownst to me and to ash, we’ve had a rocky start but we will be home together soon and i can’t wait to share this tangly forever unfolding life with you x
{ultimately sharing because it’s been so brutal and so full of love and because i am so proud of us}
“Night is an element of love;
19 Jul 2026
40 weeks of carrying this kid ~ 🪼🫧
the first photo was taken by @karl_halliday in the cemetery, the second is a selfie in the cabin on the spirit of tasmania, the third in @studio.j_edward merch, the fourth taken by @camillemoir in the boat house, the fifth was taken this morning with my @ichikawalee tattoo still stretching and the last photo is of the poppyseed waving hey!
11 Jul 2026
four years of this super speed, super sonic love ~>
it’s chaos and it’s messy and deranged and ridiculous but it’s a beautiful and committed life together ~ i’m proud of you and i love you @cashu.worldwide
if you don’t make it through the carousel, the last photo is of popcorn the baby goat, from the day we met 💦
p.s our rent is due today
01 Jul 2026
the first iteration of ‘inter-narratives of hope’ has now closed and so here are some beautiful and curious documentation images and angles shot on film by amy may stuart 🔮
paul and i are now boiling away our second MADA CiR exhibition which will open in september, with an extra special install support en route (from womb) ~
very many thanks have been said and given so for now all i’ll add is a thank you to those who generously engaged with the exhibition and the catalogue x
19 May 2026
giving 7 months pregnant but very proud of our show ~ am so grateful to be working with pb.
we are standing in front of two remarkable 3m paintings made by susan norrie in 1994, currently held in the MUMA collection, slide 3 shows the grubby hand marks on the reverse and she tussled w the large canvases. slides 2 and 6 come from rory pilgrim’s larger series ‘software garden’ and slide 4 is a detail of wendy hubert’s portrait of her father, a well known pilbara stockman, titled ‘the station’.
In this exhibition, hope is active because it is foundational. It is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by attempting to reclaim the integrity of the now.
In the selection of works for this exhibition, we aren’t looking for a singular ‘solution’ to environmental devastation. Instead, we are looking at the spaces between the works and the artists; the inter-narratives. For instance, when we place a work documenting extractivist trauma alongside one that enacts tender, non- human kinship, the hope isn’t found in either work alone.
Here, illuminated by Susan Norrie’s ‘Shudder (Pathology), and ‘Shudder I,’ 1994, two large scale paintings that investigate power relationships through a slippery, intricate, dark abstraction, placed alongside Joshua Petherick’s speculative relics, Condolence (iii) and (iv), 2017, hope is found in the navigational tension between them. Putting this into practice meant selecting works that function as ‘support structures.’
We chose works that act as anchors. They are inter-narratives because they necessitate a move away from the narcissism of the now and toward a collective reading of what it means to endure. By trialling these conceptual materials together, we aren’t only exhibiting and representing art; we are building a temporary infrastructure of orientation—a lodestar for the uncertain collective present.
ty @karl_halliday for the snap 🙂↔️
‘inter-narratives of hope: building catastrophe resilience’ is on until may 10 ~ install documentation to come ~ catalogues are running low so if u miss out lmk and i’ll email a pdf x
22 Apr 2026
body expanding, books i’m trying and failing to finish, approaching 27 weeks of growing and morphing, bubble mercreature, easter tarot, camille’s sparkly birthday, ashley, megan and bec and their little human to be, raphi listening at helen and joel’s backyard gig, dissociative ikea trip selfie, my cousin jack in adelaide, collecting grass for rory’s artwork, working with paul ~ watching paul watching 🙂↔️❣️
the gravity of making a human and their entrance into this world becoming ~ becoming ~ becoming clearer, heavier, stronger
10 Apr 2026
hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~
join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield
How does hope confront the denial of the future?
The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.
In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.
By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.
Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert
Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence
08 Apr 2026
a real pleasure to do some thinking and writing about wishing wells, day dreaming, water, tears & spit, intimacy, shitty magic, synchronicity and stones passing mouth to mouth in response to Gemma Sattler and Molly McKenzie’s new work ‘sync well’.
~ this writing was commissioned for @dancehouse.melb ‘s new series ‘Field Notes’ aimed at broadening dance and performance writing and reflection.
all photos credit Gregory Lorenzutti ~ with sound design by April Guest, lighting Giovanna Yate Gonzalez, dramaturg Grey Dear.
link to read in full in my bio 💦
31 Mar 2026
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