At PICA we recognise that we are situated within the unceded lands of the Whadjuk people of the Noongar Nation. We pay our respects and offer our gratitude to Elders past and present. We acknowledge all Aboriginal and Torres Strait Islander people and the importance of their care and continued connection to culture, community and Country.

Always was, always will be.

Galleries are open 12–5pm. Our exhibitions are always free.

Tabitha Glanville, Zali Morgan, Sophie Kihara-Murer, Yasamin Khadembashi, Aliza Nickle, Tom Freeman, Mary Shaw, Jessee Lee Johns

Weekends at PICA: Hatched

Weekends at PICA: Hatched

Join us at PICA to celebrate the opening weekend of Hatched: National Graduate Show 2026 with an afternoon of conversation and exchange. Meet the next wave of Australian contemporary artists as they share their ideas, processes and new work. 

The day begins with a tactile tour presented by DADAA, offering blind or low vision audiences access to the exhibition via an intimate sensory engagement tour.  

The afternoon continues with Hatched Artists in Conversation, a peer-led Q&A session that pairs four Hatched artists with a selection of established local artists. Hear from them as they delve deeper into their intersecting practices and the shared influences and ideas shaping their work today.  

Sophie Kihara-Murer (Hatched 2026) and Yasamin Khadembashi will draw connections between expanded painting and textile-based practices as languages for articulating diasporic memory, displacement and cultural fragmentation.  

Tabitha Glanville (Hatched 2026) and Zali Morgan will consider how listening, mapping and returning to Country can be applied as interconnected methodologies for understanding place, ancestry and knowledge transmission.  

Aliza Nickle (Hatched 2026) and Tom Freeman will discuss approaches to translating personal and inherited histories into a visual art practice. Reflecting on ideas of creative inheritance, their work is united by an interest in intergenerational dialogues and the devotion that is inherent in making.   

Mary Shaw (Hatched 2026) and Jessee Lee Johns will discuss labour intensive, process-based approaches to making and site-specific works. Through DIY methods, improvisation and repetition, the pair explore the provocation of labour, duration and finality. 

Round out the day with the PICA team at Picabar—a relaxed opportunity to connect with the Hatched artists, peers and audiences while celebrating the opening weekend together.

Program: 

Tactile Tour presented by DADAA   
12–1pm  

Hatched Artists in Conversation   
1:30–3:30pm  

Tabitha Glanville with Zali Morgan  
Sophie Kihara-Murer with Yasamin Khadembashi  
Aliza Nichols with Tom Freeman  
Mary Shaw with Jessee Lee Johns  

Register below.

About the artists

DADAA is a leading arts and health organisation that creates access to cultural activities for people with disability or a mental illness. DADAA offers targeted programs that include a broad range of traditional and new media projects in Western Australian communities. 

Walyalup (Fremantle)-based artist Tom Freeman’s practice spans various forms of painting, drawing, ceramics and sculptural installation. Driven by a fascination and exploration of materials and processes, his work traverses both 2D and 3D processes across many varied materials, guided by an investigative playfulness and the enjoyment of discovery. Freeman’s recent solo and group exhibitions include Spacingout, Art Gallery of Western Australia, Perth (2023), Teaching a stone to talk, Art Collective WA, Perth (2022), Abstracted, Perth Centre for Photography (2019) and Ramsay Art Prize, Art Gallery of South Australia, Adelaide (2019). Freeman’s works are included in numerous public collections, including the Art Gallery of Western Australia, Curtin University, City of Fremantle and Queensland University of Technology. 

Emerging curator and artist Tabitha Glanville situates her curatorial practice in the quiet strength of her Kamilaroi father and the deep creative and spiritual aptitude of her mother. Glanville’s approach to curating is dedicated to research and emotional accessibility, accompanied by a constant view to decolonise. Her artistic practice is a continual return to her familial knowledge and practice, gently shaking the shoulders of dormant (hiding) coded knowledge and collective consciousness. Glanville’s work is one step in a story 70,000 years long. It is not improved, nor does it need to be. It is not a step in forward nor backward directions; it exists within something much larger. Fragments of her return have arrived slowly with each body of work, reaching a recent pinnacle in September this year when she and her father returned to their Country. Glanville’s creative labor anchors her responsibility as a curator; one who holds another person’s return. 

Jessee Lee Johns’ practice is rooted in a DIY philosophy of lowered standards and tactical ignorance that has generated a list of impressive-sounding achievements. Jessee has exhibited extensively outside the gallery system both nationally and internationally. In 2017 Jessee established a small nation called the Commonwealth Of New Bayswater, of which they and a friend are the only citizens. The Commonwealth appears from time to time, establishing its borders when conditions are favourable (generally coinciding with the Fremantle Biennale), fading as they turn.  He is the Co-founder and Director of the Contemporary Institute of Modern Art (CIOMA), an international and pan-temporal art institution with sites in 2015, 2016, Cambodia, 2018 and 2020. 

Yasamin Khadembashi (b. 1998, Perth WA) is an Iranian–Australian multidisciplinary artist working in Walyalup/Fremantle on Noongar Boodja. Her practice spans painting, sculpture, collage, textiles, tattooing and installation, often combining traditional and unorthodox materials such as oil paint piping, synthetic hair, rhinestones and metal leaf. Drawing on her family’s migration to Australia, Khadembashi reflects on the complexities of diasporic identity and the cultural shifts experienced by immigrant communities. Her work engages with political and cultural histories that have shaped both local and global understandings of identity and belonging. 

Sophie Kihara-Murer is a multidisciplinary artist based in Ngunnawal country. They explores their mixed Austrian-Kenyan identity through Expanded painting as a site where material memory, cultural hybridity and Black reclamation intersect. Working between painting, assemblage, textile processes and found-object methodologies, Sophie transforms discarded materials into painterly surfaces that articulate the complexities of diasporic identity. Their work emerges from a commitment to reappropriation of objects, language, and visual histories as a way of challenging dominant narratives and asserting alternative forms of belonging. Through material repetition, reinvention and transformation, Sophie constructs paintings that operate not only as aesthetic objects but as acts of belonging. In doing so, they contribute to a growing discourse around Black post-diasporic identity within Australian contemporary art. 

Zali Morgan is a Noongar woman with ancestral connections to Whadjuk, Balladong, and Wilman Boodjar. Born and raised near Wooditchup on Wardandi Boodjar, she is now based near Boorloo. Morgan’s multidisciplinary practice spans printmaking, textiles, sculpture, curating and writing. Often questioning notions of place, Morgan’s practice engages with decolonial art and discourse within Australia through both figurative and abstract representations of her surroundings and history. In 2023, Morgan won the City of South Perth Emerging Art Prize and exhibited in REVEALED at Fremantle Art Centre. Her work has also been shown at Contemporary Art Space Mandurah, Kent Street Gallery and ArtSource. Zali was previously Assistant Curator of Indigenous Art at the Art Gallery of Western Australia and has curated exhibitions at John Curtin Gallery, Edith Cowan University Gallery and Bunbury Regional Art Gallery. 

Aliza Nickle is a sculptural, assemblage and installation artist working within a conceptual framework and methodology of ‘creative inheritance’. Nickle’s practice traces the logics, materials and aesthetic sensibilities passed down through her familial lineage. Nickle’s work is an active site of history, her work documents and reanimates the creative practices of her grandparents, Suzanne Gorrell and Robert Nickle and the broader pursuits of her matrilineal family. Treating these inheritances not as distant influences but as primary, generative sources. Materials including masonite, photo collage, brass, leather, stainless steel and oil stick coalesce in a way that dust, objects, and scratches accumulate over time. Within the work knots tighten, glue hardens and yellows, materials are found, taken apart and pieced back together again. Nickle embeds inherited processes into her own, honouring intergenerational dialogue and the devotion inherent in making. By allowing new forms to emerge directly from their past, her practice becomes both an act of absorption and an offering forward, situating personal lineage as a living, evolving system of knowledge. 

Practice is the engine that drives us forward and Mary Shaw is interested in lifting the bonnet to let it show. Emanating from a love of learning and a fascination with process and work, her practice began with learning to read and write for the first time and the feeling of understanding, the world opening up. Since then she has practiced and practiced and practiced, using art as a way of working through ideas. In art, where the end point is less likely a financial incentive or concrete reward, practice is much more closely aligned with care. The world opened up, but only because of the months and months of practice beneath it. Using practice as a framework of care, she only finishes a work when it exhausts itself or she understands it enough to let go. 

Supporters

Hatched is made possible by Exhibition Partner Minderoo Foundation and the generosity of PICA’s Art 1000 Donors. Weekends at PICA is made possible thanks to the support of PICA’s Community Engagement partner, City of Perth. 

City of Perth, City of Light

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