September 21st, 2026Stockroom Kyneton
Three artists will open their exhibitions at Stockroom in Kyneton on Saturday, September 26 from 4pm. The exhibitions will run to November 1.
Mark Rodda will present Abstraction + Watercolour = Good Times!!, Ella Rizzi will present Distance and Steph Wallace will present Grief is like Glitter.
Mark Rodda, Nebula 24P Mark Rodda’s Abstraction + Watercolour = Good Times!! is a collection of abstract compositions and watercolour landscapes. The non-objective works in this exhibition range in style from graphically geometric pieces to the more organic forms of the artist’s ongoing Nebula series.
The watercolour aspect of the show is made up of (mostly hazy) romantic landscapes of the type the artist always seems to return to. Within the watercolour bundle is a ‘lost’ group of works from 2013, which the artist always intended to show, but will only now see the light of day on a gallery wall.
Mark Rodda hopes for some type of synchronicity between these two disparate sets of artworks, but if the combination ends up a little bit wild…the artist is OK with that too.
Ella Rizzi
Ella Rizzi’s work is an intimate recollection and rediscovery of herself, her past, and her heritage. Through oil painting and textiles, she renders blurred and fragmented imagery to replicate the erosion of memory (and hence, identity) across generations, suggesting an incomplete and shifting understanding of histories. Using reference imagery from landmarks in her personal family history, significantly in Northern Italy, her work reflects the impossibility of piecing together an already-broken past. Working with textiles becomes a form of reclamation of craft and of the often unseen labour of women, grounded in and inspired by the histories and practices of the women in her family.
Steph Wallace
Grief is Like Glitter is a deeply intimate exhibition of ceramic works by Steph Wallace, born from a year of parallel medical trauma, vulnerability, and profound change within her home. Created to process the raw emotions of Wallace’s own cervical cancer surgery alongside a loved one’s difficult body transition, the work maps a shared family landscape of health uncertainty, dysphoria, and unconditional love.
Wallace turns private pain into a shared space of radical tenderness, resilience, and messy, beautiful transformation. Subverting a trite internet platitude to uncover a deeper material truth, Grief is Like Glitter speaks to the strange duality of trauma, impossible to fully wash away, clinging to the quietest corners of daily life and unexpectedly catching the light. Through this evocative body of work, Wallace turns private pain and family transition into a shared space of radical tenderness, resilience and shimmering proof of survival.
