Hannah Barclay, Aaron Fell-Fracasso, Erin Mison
Melbourne Art Fair, 19 - 22 February 2026
Booth G3, Melbourne Convention and Exhibition Centre
Hannah Barclay
Hannah Barclay creates ceramic forms through an active process that combines wheel-throwing and hand-building techniques. Forms are shaped into expressive vessels marked by physical gesture and emotion. Chance and experimentation guide the work, allowing material and form to emerge without force or planning. Her sculptures explore transformation, pain, endurance, and the feminine body, conveying a visceral presence that often evokes inanimate bodies in space.
Hannah lives and works on the south coast of NSW in Wombarra/Dharawal. Her work is held in the Wollongong Art Gallery and MONA collections, as well as numerous private collections.
Aaron Fell-Fracasso
Aaron Fell-Fracasso uses textural and tactile mark-making to create immersive abstract paintings. His process involves rendering, scraping, and concealing layers of paint to reveal complex sensory surfaces that conjure childhood memories and non-linear narratives.
Aaron Fell-Fracasso lives and works in Wollongong/Dharawal, NSW. His work is held in the collections of the University of Wollongong and Macquarie University, as well as numerous private collections.
Erin Mison
Erin Mison’s work draws on an evolving and lifelong desire to understand people. Working predominantly with textiles, using hand-operated tufting to create ornamental tapestries, Mison’s work explores themes of identity curation, sexuality and socio-cultural anthropology, taking universal yet private stories and re-telling them in evocative pieces.
Erin lives and works on the south coast of NSW in Mount Keira/Dharawal. Her textiles are held in the University of Wollongong and Deakin University collections, as well as numerous private collections.
Erin Mison
Because you can, because they taught you (War is good for business, invest your son!), 2026, hand tufted wool and acrylic yarn on cotton monks cloth and board, 323 x 113 cm
$10,000
There is a specific violence in being remembered only by your enemies. For the Minoans, history is a series of superimposed shadows; a vibrant, bull-worshipping culture flattened into cautionary tales and monstrous births. We view antiquity through a borrowed lens, prioritising the victor’s heroic machine over the quiet rhythms of a sanctuary we no longer have the language to describe.
This pediment—a symbol of marble certainty—is here dismantled into five textile figures. By rendering these forms in wool, classical clinicality becomes a haptic monument. It is a refusal of fiction masked as fact, and an insistence on the softness of skin for those relegated to the margins as adulterers, assistants, and cucks. To believe a bull-worshipping culture was ashamed of its own bull-prince is to swallow a narrative designed by conquerors and centuries of lazy writers. I am not a customer for that fiction.
Erin Mison
No footpath was to find, 2026, hand tufted wool yarn on cotton monks cloth, 38.5 x 120.7 cm (framed)
$4,000
Erin Mison
Accosted to the care or arms, 2026, hand tufted wool yarn on cotton monks cloth, 38.5 x 120.7 cm (framed)
$ 4,000
Erin Mison
Wanton on the breeze, 2026, hand tufted wool yarn on cotton monks cloth, 38.5 x 120.7 cm (framed)
$4,000
The Right to Bathe is a territorial claim to the radical simplicity of a private moment. Inspired by the myth of Diana and Actaeon, these works move beyond the voyeuristic wreckage of antiquity to assert a state of being that requires no outside witness.
Historically, the simplicity of the bath is rarely permitted to remain simple once observed. The moment a foreign eye enters the glade, the act is burdened with projection: a superimposed narrative of sex and expectation. These works refuse that weight. Rendered in textile—a medium transforming domestic silence into a haptic monument—the series insists on the unromanticized reality of intimacy and care. Presented through a “letterbox” constraint, the viewer is offered only a narrow window into a sanctuary not built for them. Here, the gaze itself is not the transgression; the error lies in the baggage the eye brings into the woods.