Nic Burridge

‘Untitled’, ‘Mist’, Nic Burridge
‘Untitled’, ‘Mist’, Nic Burridge
‘Untitled’, ‘Mist’, Nic Burridge
‘Untitled’, ‘Mist’, Nic Burridge
‘Untitled’, ‘Mist’, Nic Burridge
‘Untitled’, ‘Mist’, Nic Burridge


The hardest part of making this work was ripping the print. Physically this was not difficult but mentally it was. It seems somewhat sacrilegious to tear a photograph. Burridge shares a deep anxiety before he began to rip it, and a feeling of relief after the act was done. Emotionally, this most accurately describes Untitled for him, it is a leap of faith. About a feeling of purgatory and being stuck between two worlds. It is about a shape-shifting identity, a story unfolding.


The process of creating this artwork was entirely through analogue photography, with no editing or photo-compositing. What looks like special effects is in fact condensation and reflections on glass. It is one decisive moment where the elements of the world have aligned. For Burridge, the beautiful thing about film photography is you never truly know how a photograph is going to look until a week later when the film’s been developed. Though he tries not to have preconceptions about the result, sometimes he knows the outcome will be perfect. This was one of those times.

Kate Neilsen

Colourspace kate neilsen pexa 2

‘Botanical City, Rising Waters, Rising Waters 2.1, New World’ 
Digital Collage printed on fine art paper
V4/30  unframed / framed each 42cm x 30cm

‘Rising Water’

A digital artist that plays in the surreal, Neilsen draws on her architectural background to share engaging collages of her interpretation of how our mechanical and biological worlds join. This piece speaks for itself, showing us a fantastical world that is dealing with rising water levels. It is important to note that the floating levels element is a sample from the drawing ‘An Exhibition Hall’ by Conrad Roland, 1964.

‘New World’

New World was created as a preliminary illustration for an architectural creative writing titled ‘Breathless’, by Thienvan Nguyen. The writing explored the loss of romance and delicateness in our cities, set in a dystopian metropolis. This scene envisioned a new world. If this artwork was a piece of music, it would be by the American electronic band ODESZA, as it explores organic experimentation with new technologies.

‘Bontanical City’

Neilsen believes an imperative experience to both her artwork and her life was living and working in a temporary camp, in the middle of the jungle in Borneo for 9 months. This experience gave her a completely new appreciation of our world’s eco systems, as well as our connection to it. It magnified her disillusionment with the commercial architecture world, in its continual disregard of the natural world. In this piece, you can see her environmentalist nature and the dis/connections between people and their environment.

‘Rising Waters 2.1’

With her background in art and architecture, Nielsen’s works revolves around the built environment, people and the effects of interactions with our surroundings. This is evident in her artwork If this artwork could talk, it would shout: “Wake up!” Of note, the image of the buildings is a sample from the drawing ‘Vertical City’ by Ludwig Hilberseimer, 1924-29.

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