# is a group exhibition bringing together five artists whose practices engage with interruption, connection, and the grid as a framework for examining structure, convergence, and exchange. Curated by Lilly Skipper and presented at Netherlands, West Melbourne.

Featuring Tia Ansell, Marlee McMahon, Andrew Nille, Masato Takasaka, and Lachlan Stonehouse.

17–26 June 2026

“Interruption is a form of anticipation, where the trajectory of a sentence or thought, half-formed, is so quickly assumed that one enters it before it completes itself. The act of interjecting is a refusal to wait for completion, as though the unfinished can already be recognised, already known in advance. Rushing to conclusion, the sentence is treated as if nothing will be lost or missed in its early closure. What is this habit of arriving early to meaning, of prefilling gaps that weren't empty and building a reply whilst another’s is still under construction? Waiting constitutes attention. Don’t drop the thread.

Amid vibrating and rhythmic collisions, each of five artists in ‘#’ produce sites of friction where grids and lines coincide, resist, exceed and reconfigure, expanding ideas of convergence and intersection beyond surface-level mark-making. Representations of cross-hatching and weaving as visual languages, both literal and implied, operate as methods of making and ways of holding works together.

Beyond the visual, paralleled vertical and horizontal trajectories of the # symbol, the hash holds a range of meanings; it exists as an organiser or label maker. At its most basic, # is a shorthand for ordering or numbering. In the context of digital and social media, it turns a word or phrase into something searchable; a connector that groups dispersed posts into a shared thread of attention.

In '#' interruption is treated as generative. Artists loosen the rhythm of thought to tease hesitation amid exactness, shaped by tensions between industrial precision and hand fabrication. The grid emerges as a recurring framework, wherein artists pose questions of how an artwork remains intact as a distinct whole and how networks are produced within it. Is order discovered or imposed? What is legible and how are things bound and joined? Undo the thread.”

—Lilly Skipper 2026