Soft Systems at Billilla Mansion
8-25 October 2026
Adam Stone and Laura Couttie founded this project in 2024. They curated a group of 20 contemporary, diverse artists to explore the complicated, interconnected systems that shape our world. The works interrogate the seen and unseen, critically examining how identities are shaped, resources are distributed, and our relationships with each other are influenced. Works range from minimalist forms using light and cardboard to detailed textile works made with as much lace, beads, and fringing as possible. Engaging with the exhibition was a joy and a revelation.
I was thrilled to attend the exhibition because, over the course of this semester, I have come to view my practice in a sculptural light rather than as something two-dimensional, like my painting. I was keen to see how contemporary, long-time artists use dimension, form, and space to evoke meaning.
Jenna Mayilema Lee, ‘The plant with room to grow ’, 2026, Pages of Aboriginal words and place names, reed, wire, bamboo, glue. Dimensions variable.
The historic house made the works seem out of place, yet, given the theme, it was the perfect venue because it evoked historical systems of life that contrasted with the contemporary works. Each work was placed in a separate room that emphasised the theme it held. My favourite piece was by Jenna Mayilema Lee, which I saw at the Art Gallery of NSW in August. It was presented in the reading room, where a low-hanging light remained. The piece, titled The plant with room to Grow (2026), was made using her usual process of working with pages from vintage Indigenous dictionaries, which felt perfect for a room where people pondered books. As you walk into the room, you're met with a small forest of new trees that seem to sprout from the wooden floor. It was magical.
The works ranged from free-standing to suspended, and I nearly missed one piece: Glenda Nicholl’s ‘I see country’ (2026). It hung from the high ceiling at the entrance to Billilla. Looking up, I was enveloped in the gentle knotting of jute, twine, and raffia. I'm interested in netted forms and have been researching their possible meanings and how artists use them to communicate their ideas. Moving under the net created a sense of immersion and gave me another idea for future work.
The exhibition housed sculptures that ranged in scale, texture, materials and arrangement. I was most attracted to the ones I could walk around and get close to. I discovered that their relationship to a viewer’s body contributes significantly to engagement and observation of meaning. This is something I will consider for my future practice and presentation
