Exhibition Date
Exhibition Opening
Saturday 28 February 2026, 1 > 4PM
Visual
Rating 100%
The Linden Projects Space can be accessed via an older lift that is not DDA compliant and requires staff operation. Our team is
always available to assist—please let us know if you need support during your visit.
St Kilda-based artist Andrée van Schaik’s distinctive photomontages and paintings ignite our vision and imagination with her splendidly aesthetic détournements of mass media imagery. The works in Recent Collages and Paintings — her first solo presentation of works at Linden New Art — journey further into the realm of possibility.
Van Schaik has become highly adept at cutting up enigmatic images from fashion and design magazines, advertising material and so forth to compose even more enigmatic artworks. Mastering the art of synthesising new from old, a renewed (dis)order (photomontage) from chaos (mass media bombardment on one hand and her cutups on the other), her sumptuously mesmeric imagery comprises fractured and fragmented elements that may or may not be identifiable and are joyously out of context. Typical narratives are replaced with fresh, sometimes surprising compositions of newly created shapes and forms, using mechanisms of juxtaposition and interplay, as well as colour, line, texture, pattern and rhythm that invite our eyes to ‘dance’ and our brains to give over to where her works take us — not unlike listening to jazz.
On another level, however, van Schaik has developed a highly aesthetic anti-aesthetic to critique or parody the originally intended commercial, societal and/or political uses of her chosen imagery and debunk the social, psychological and economic pressures it can inflict. We see disjointed and alogical arrangements of negative spaces; swirling or puffy pieces of hair, fabric or garments; architecture and design elements; disembodied body parts; etcetera. In Collage 0078 (2025) and its painted double, Crunket (2025), for example, fabric segments both worn and loose are animated across the background of a row of off-centred Tuscan columns, from which a pair of high-heeled feet appear at their base as two red-fingernailed fingers emerge at left, beneath a fragment of a hand inside a partial car interior that extends across the top of the image. This rupturing and dismantling of commodity-based imagery occurs most pointedly in Collage 0087 (2024) and Collage 0083 (2025) as van Schaik allows each to retain the entirety of their respective YSL web address and MISSONI logo.
In the infinite aesthetic possibilities of her deliciously rupturing recombinations of found commercial, design and fashion-focused imagery, van Schaik’s actions of cutting up, collaging and then painting her unique outcomes may also be considered as ‘slow’ artforms that remedy the increasing speeds and amounts of digital imagery and information we must make sense of daily via the ever-expanding datasphere.
Words by Kirsten Rann
February 2026
Andrée van Schaik is an artist who lives and works in Melbourne, where she has
been painting, drawing, writing and composing music for the last twenty-four years. Her paintings are a marker of where she is, and has
been, at certain emotional points in time. Seeking to echo the lightness, depth, and sense of infinity of impressions of the world.
Andrée’s works merge the human, the landscape and the architectural to reflect her puzzlement over life.