LONDON.- Sullivan+Strumpf returns to Frieze London in 2025, presenting new works by Tony Albert, Julia Gutman, Gregory Hodge, Naminapu Maymuru-White and Alex Seton. In this exciting exhibition, these five internationally acclaimed Australian artists draw upon the concept of thread as a densely layered metaphor–a universal signifier of connection.

The gallery's presentation marks significant international debuts for Albert, Gutman and Seton – all appearing at Frieze London for the first time; and an opportunity for UK and European audiences to reconnect with the works of Hodge and Maymuru-White, who each made their sell-out debuts at Freize in 2024, with a highlight being the Tate Modern’s acquisition of Maymuru-White’s incredible 17-part bark painting installation, Milŋiyawuy.

Join the Sullivan+Strumpf team at Stand D29, Frieze London, 15 - 19 October 2025, The Regent’s Park, London, joined onsite by artists Julia Gutman, Alex Seton and Gregory Hodge.

Metaphorically, threads articulate the interwoven nature of human relationships and the structures that inform identity; materially, they reference the physical    strands that constitute textiles with the function to protect, adorn and unify.

Positioned between the intimate and the collective, the works in this exhibition explore the myriad nuanced ways in which in which connection is formed and sustained: tracing, holding and reimagining these connections, through the artists’ diverse materiality and practices.

Tony Albert is one of Australia’s foremost contemporary artists with a longstanding interest in the cultural misrepresentation of Aboriginal people. His Conversations with Margaret Preston series interrogates the problematic use of First Nations iconography in domestic design and explores the boundary between ownership and appropriation. Incorporating vintage fabrics from Albert’s personal archive, collected for over two decades, these powerful collages are a metaphorical collaboration with one of Australia’s leading early 20th century Modernists, Margaret Preston. Albert is the Artistic Director of the National Gallery of Australia’s National Indigenous Art Triennial 2025, which will also feature Naminapu Maymuru-White.

Naminapu Maymuru-White is a Yolŋu artist from the Yirrkala community in north-east Arnhem Land, Australia. One of the first Yolŋu women to be taught to paint miny’tji (sacred creation clan designs), her works are of historic and continuing significance as a Maŋgalili clan member and contemporary artist in her own right. Maymuru-White paints miny’tji that depict Milŋiyawuy – the Milky Way in the sky above, and as it is reflected in the river that flows through her land. This dual reference in Maymuru-White’s paintings of Milŋiyawuy,speaks to the dialogue between the universal and the particular that lies at the very heart of Yolŋu culture. At her Frieze London debut in 2024, Maymuru-White’s acclaimed installation Milŋiyawuy, was acquired by the Tate Modern.

Julia Gutman is one of Australia’s most compelling and highly awarded emerging voices. A multidisciplinary artist whose practice is anchored by an experimental textile process, her figurative works are made primarily from donated fabric – worn clothes, slept-in sheets – and often replicate compositional moments from historical artworks, using her friends as models to respond to and reinvent the originals. For her Freize debut, Gutman presents no speck so troublesome as self, a tender self-portrait that sees the artist split in two. Contemplating introspection, and perhaps artmaking itself, the title alludes to the farce of self-knowledge, and the interference of the ego in interpersonal relationships. Made from bits and pieces of everyone else, Gutman’s ‘selves’ are unstable rather than fixed, collective rather than singular. Her Frieze presentation precedes her highly anticipated Sydney solo, A Fine Line, opening November 2025, and her 2026 residency at the Cité Internationale des Arts in Paris.

Paris based Australian artist Gregory Hodge’s paintings oscillate between abstraction and figuration, layering personal source material with painterly gestural marks and obscured motifs of architecture, interiors and foliage, to echo the intricacies of meticulously woven surfaces. His recent bodies of work honour a deliberately handmade quality, where he uses bespoke tools and brushes to create marks that resemble the warp and weft of tapestries.

Alex Seton is a multidisciplinary artist, best known for his marble carving. Frieze London sees the debut of his The Tenderness Series, a new body of work, carved from Portuguese pink marble and created in Pietrasanta, Italy. Exemplary of Seton's sculptural practice, these benign forms of crumpled cloth appear mundane in their ordinariness, everyday objects routinely shed. Yet each considers this act of shedding; how we shed and slough our clothes and skin, but also our morals, ethics and humanity. Beautiful in their fleshy materiality, the series questions whether we shed too easily.