Stewart’s painting and installation practice often examines the relationship between art and design. This new presentation of work continues to explore the possibilities offered by the visual language of architecture, geometric abstraction, and decoration, exploring in their ideals, and, perhaps, their flaws. Integral to Stewart’s practice is an experimentation with modular designs. Mind corners showcases Stewart’s consideration on modularity as a means to enable the interchange of parts without disrupting entire systems. She sees each panel as a collage in itself, ultimately contributing to a cohesive larger structure.

So much coming in (2024), is arranged with academic, administrative, and personal references, ranging from drawings for new planning permits to small fragments of fabric samples that Stewart thematically re-purposes and layers within each panel. Each section is an amalgamation of source material, yet maintains a sense of harmony as a whole.

Anchoring this most recent work, Stewart includes a small work by Vivienne Binns. It is what it is, what it is – lino (2014) is displayed as the only work on a pre-existing gallery wall in the front space. This readymade of linoleum reminds us of domesticity, and why and how objects were made for the domestic space. By presenting this reference work alongside her own, Stewart acknowledges the material and Australian Modernist sources which inspire her practice