What are the opening hours?

Friday 12pm - 5pm Saturday 12pm - 5pm

http://www.negativepress.com.au/

Negative Press, Factory 8/102 Henkel Street, Brunswick (2026)

28/04/2026

LA friends, please see this show! One of the great joys of working with artists is the way they can shift your perception of where an image might be found, and the meaning a subtle act can elicit. In my view, Stolon Press' 'Strainers' speak as much to the transit of goods, and what is welcomed into this country, as much as they relate to the material of their making.

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At 1301PE in Los Angeles we’re showing a selection of “Strainers”, as part of the exhibition lull between storms.

Strainers are direct prints made from cardboard cartons found around our neighbourhood that had carried all manner of edible goods into Australia. Printed in Melbourne with Trent Walter.

05/03/2026

It was a pleasure working with Anna Highins on some of the works for her exhibition opening at Neon Parc tonight ❤️❤️❤️

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Kiss (Return) #2, 2026. Colour reversal film on velvet paper, unique acrylic screenprint, 175 x 125 cm.

True Love at Dawn, opening tomorrow Friday 6th March 6-8pm at Neon Parc, Brunswick.

A special thank you to Trent Walter at Negative Press , Leigh Clarke and Mădălina Zaharia

04/03/2026

It's the final week of the incredible John Nixon survey exhibition "Song of the Earth" at Heide. The weekend includes a rare outing by The Donkey's Tale, who feature prominently in the exhibition. Well worth seeing and perfect weather for it this weekend 🌈

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The title, Song of the Earth, is intended to convey the lyricism of John Nixon’s practice.

His vibrant, materially diverse works affirm a belief in the unity of art and life, with bold colours and geometries created from everyday materials such as enamel paint, cardboard, wood, metal, hessian, found objects and natural forms.

See Song of the Earth now, at Heide.

Images: John Nixon, Song of the Earth, 2025, Heide Museum of Modern Art, photographs: Christian Capurro.

02/03/2026

Looking forward to joining Lee Richardson's Another School program today from 11 am AEDT

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Thank you to everyone who has joined in the curriculum of Another School so far!

Tomorrow, 3 March at 1pm, we are joined by Trent Walter, an artist, publisher, printer and lecturer who is based in Australia where he runs Negative Press. Trent’s session will concentrate on the printing studio as a hands-on classroom. He’s sent through a recipe for a Sri Lankan snack that will be on the school menu ❤️🍎

Image: Trent Walter, Printmaking in Relation: The Workshop as Alibi, 2024. Installation view, MADA Gallery, Monash University.

21/02/2026

OPENING TODAY 3–5 PM:

Wayword Forword Too: Visual poetry by thalia and Sandy Caldow

To mark the launch of our exhibition Wayword Forword [Too], Collective Effort Press have produced a full catalogue, which will be available at the launch. Designed by π.ο., the catalogue features a cover by Emily Floyd (based on a work by Sandy Caldow), an foreword by Victoria Perin and two essays introducing the long careers of thalia and Caldow by Ella Skilbeck-Porter.

From the foreword:

"Looking at work by thalia and Sandy Caldow, two artist-poets living in Naarm / Melbourne, you might believe you are looking at two opposite things. Thalia and Caldow have developed substantial visual poetry practices since the 1970s and 80s, respectively; and their approaches to the form are night and day. Thalia’s work is pointed, coded. Caldow’s is organic and open . . . In the context of increasing international interest in women’s visual poetry, this exhibition showcases two practices that are both feminine but patently different. In their binary oppositions, the work of thalia and Caldow might present a wholeness."

Wayword Forword Too: Visual poetry by thalia and Sandy Caldow
📆 Opening: Saturday, 21st February (featuring performances by Collective Effort Press)
🕒 3–5PM
📍 Factory 8/102 Henkel St, Brunswick VIC 3056
🥂 All welcome

08/02/2026

Today is the final day of Edition 2: Melbourne Art Print Fair

I'll be in conversation with Emily Ferretti about the works illustrated here between 2–3 pm alongside talks by

The fair continues till 5 pm.

1.
Emily Ferretti
Shifting Landscape 18 2018
Monotype on Magnani Incisioni 300 gsm
76 x 55.5 (paper)
83 x 62 cm (frame)
Published by Negative Press

2.
Emily Ferretti
Changing Day (cool)
monotype
56.5 x 43.5 cm (paper)
63 x 50 cm (frame)
Published by Negative Press

Artwork photography by
Studio photography by .atlas

Emily Ferretti is represented by and

28/01/2026

It was a great privilege to know and work with Elizabeth Newman over the past 14 years. Lizzy was always direct, affectionate and clear-minded in her life and art. She always brought more ideas to Negative Press than I had the capacity to realise with her, but she never begrudged that fact.

Lizzy approached printmaking in a unique way. Many of the print works we made together were remakings of sorts. Lizzy often said they were better than the ‘originals’ (collages or drawings). When I would ask her about the relationship of one to the other, she would say that she saw no difference in their agency as artworks: there was no hierarchy of objects. The etiquettes of printmaking did not bother her, she would say, because she didn’t know what they were.

Lizzy started making prints at art school because she was told that you needed to be able to draw to be able to paint. Under the guidance of Allan Mitelman, she made a series of hard ground and soft ground etchings that bear Mitelman’s influence. Her subsequent printmaking activities reflected her own voice and expressed a desire to make a different kind of object alongside her drawings, paintings or sculptures: a digitally printed silk shirt, a screenprint on paper or a poster printed at Officeworks for example. Lizzy saw this as a complementary, rather than a dedicated printmaking, practice. To underline this fact, when I asked Lizzy more recently about mounting a print show she said she didn’t like the idea as the works were always made in relation to something else.

Lizzy was attuned to the world and always recognised the beauty of objects, colour in combination, or the feel of a certain fabric among other things. She was serious and had a great sense of humour.

As a fan of Lizzy’s, as well as being her friend, I’m grateful to the commercial, artist-run and institutional spaces that presented Lizzy’s exhibitions during her lifetime, and to the publishers that disseminated her works to larger audiences. There will be more to come.

With love to Lena and Rachel, Lizzy's family, friends and peers and her beloved dog, Molly.

We love Lizzy (1962–2026)

20/12/2025

Final day of this wonderful exhibition.

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Today is the last day to view 𝘐 ♥ 𝘓𝘪𝘻𝘻𝘺, a group exhibition celebrating the influence and friendships of Elizabeth Newman at Neon Parc Brunswick. The gallery is open 12-5pm.

Email [email protected] or click the link in bio to request a catalogue of available works.

—

Featuring over fifty artists including contemporaries and younger practitioners informed by Elizabeth Newman’s practice, the exhibition honours Newman’s extraordinary contribution and enduring impact across generations of Australian and International art.

Artists include A Constructed World ( ), Adelle Mills, Andreas Exner, Andrew Hurle, Beth Maslen (), Brent Harris (), Christopher LG Hill, Claire Lambe (), Damiano Bertoli, Darcey Bella Arnold, David Thomas (), Elizabeth Newman, Emily Floyd (), Esther Kläs (), Gail Hastings, Gordon Matta-Clark, Hannah Maskell, Helen Johnson, Helen Nicholson, Imi Knoebel (), Irene Hanenbergh, Isabella Darcy, James Lynch, Janet Burchill & Jennifer McCamley, Jane O’Neill (), Jens Haaning, John Nixon (), Jon Campbell (), Juan Davila (), Kain Picken, Kate Meakin, Laura Skerlj, Lisa Radford, Lou Hubbard (), Louise Forthun (), Lucina Lane, Maria Cruz, Masato Takasaka, Matt Hinkley (), Melinda Harper, Mikala Dwyer (), Mira Gojak, Moya McKenna, Naomi Eller, Nick Selenitsch (), Paul Knight, Polly Borland (), Raafat Ishak (), Rob McKenzie, Rose Nolan (), Shelley Lasica, Sister Corita Kent, Spencer Lai, Stephen Bram (), Steven Rendall (), Tony Clark (), Trent Walter, and Warren Taylor.

𝘐 ♥ 𝘓𝘪𝘻𝘻𝘺
Neon Parc Brunswick
21 November – 20 December 2025

04/12/2025

Burchill/McCamley's 'Selected Prints +, 1988–2025' continues till the 13th December at Negative Press x Keeper Print Room. Open today and tomorrow from1–5 pm.

25/11/2025

This is a big one. While writing my PhD I started work on a position paper that became the larger conceptual frame for my research. Written between Naarm/Melbourne and Colombo, the initial essay became a preface in my exegetical writing. Simryn and Tom read it and invited me to expand it for their pocket book series. It has benefited from their feedback and close reading, along with Naomi Riddle and beautiful design work by Rudd Ruttens. A special thank you to my friends Helen Hughes and Anna Arabindan-Kesson, two widely published scholars I greatly admire, for their thoughtful and generous blurbs. And as always to Emily .atlas for everything.

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Find Trent Walter’s pocket book, Thuppahi: identity, object, method, now available on our website.

“Like the rootless Burgher, Trent Walter understands his role in his print workshop as in-between and interstitial. Akin to an interpreter. Neither insider nor outsider, or perhaps both at once. Joining some of the most significant artists, poets, and writers of this century, ranging from Saidiya Hartman to Archie Moore, in this essay Walter deploys family history—with all its fundamentally impenetrable absences and fantastical yearnings—as a critical and creative method with clear applications for a studio practice.”
—Helen Hughes, Senior Lecturer, Monash University

“Weaving between familial stories and silences, Trent Walter reimagines identity formation as artistic process. As he reclaims the shifting contingencies of relatedness through lived experience, printmaking and objecthood, he encourages us to look beyond the absences of history into the ‘needs and realities of the present.’ Thuppahi is an offering: it seems to want to say here is how art can be a form of relation, how longing can be transformed into tenderness.”
—Anna Arabindan-Kesson, author of Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World

Design by Ruud Ruttens
Copy-editing by Heather Anderson
Proofreading by Tina Melick
Printed by AC Dominie, Singapore
or.rents

Negative Press

28/04/2026

05/03/2026

04/03/2026

02/03/2026

21/02/2026

08/02/2026

28/01/2026

20/12/2025

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25/11/2025

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