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Wednesday 10am - 5pm Thursday 10am - 5pm Friday 10am - 5pm Saturday 10am - 5pm Sunday 10am - 5pm

White Rabbit Gallery

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White Rabbit Gallery

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𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝
25 June—15 November 2026
Open: Wednesday–Sunday 10am–5pm
Entry is free.
(1644)

The White Rabbit Gallery has four floors showcasing Judith Neilson's White Rabbit Collection. Dedicated to works made in the 21st century, the White Rabbit Collection is owned by Judith Neilson, who was inspired to establish it after her first trips to Beijing in the late 1990s. She was thrilled by the creative energy and technical quality of the works she saw and wanted to share them with people outside China. She makes regular trips to China and Taiwan to augment the Collection, which now includes more than 2000 works by almost 700 artists. The gallery building, a Rolls-Royce service depot in the 1940s, was completely refitted as an exhibition space by architect William Smart. The White Rabbit Gallery is a registered charitable institution funded solely by Judith Neilson.

20/10/2026

Zhou Zixi’s ‘Black Hole’ series features dense black circular forms intruding into various landscapes, giving rise to multiple interpretations: when suspended in the air, they evoke an unfathomable gaze; when descending to the ground, they resemble an endless abyss. This minimalistic symbol creates a sense of science-fiction atmosphere and estrangement.

Zhou says, “A black hole, as an entirely alien object that does not belong to the real world, abruptly appears within a natural or urban landscape.” Zhou is not a symbolist painter, and he says that the black hole does “not symbolise anything,” rather, “they attempt to alter the very structure of viewing itself.”

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Zhou Zixi周子曦, Black Hole 027, 2024, oil on canvas, 200 x 300 cm
𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Zhou Zixi周子曦, Black Hole 029, 2024, oil on canvas, 200 x 360 cm

19/10/2026

Let's Talk... about Chen Chun-Hao 💬

From afar, what looks like a traditional Chinese landscape painting, is actually a three-dimensional mountain scape produced entirely from nails. In fact, the artist says it was the most labour-intensive work he’s ever made.

Using air compressors and a specially modified nail gun, each of the 750, 000 nails that made this work, are embedded at a different depth, ranging from 1 to 6 cms.

The White Rabbit Gallery is free to visit. Come have a look for yourself.

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm.
Entry is free.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Chen Chun-Hao 陳浚豪, Imitating "Travellers Among Mountains and Streams" by Fan Kuan of the Song Dynasty, 2011, nails and canvas mounted on board, 345 x 170 x 7 cm

17/10/2026

“A few years ago, while tidying up my old belongings, I came across the cover of an Old Pictorial magazine from the 1980s. It showed a group of soldiers moving through a forest … Childhood memories of certain emotions and feelings I could never quite let go of quietly resurfaced—those feelings about heroes, about dreams, about the things one longs for but cannot attain. It inspired me to create a series of works like this … In these images, there are people stepping into the frame, walking towards the horizon—seekers, those who do not give up, and even those who distance themselves, willingly marginalising themselves, coming as close as possible to their own being, to their own soul, in a ceaseless cycle without end.” Zhao Yang

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Zhao Yang 赵洋, The Last Man BA, 2023, oil and acrylic on canvas, 196.5 x 169.5 cm
𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Zhao Yang 赵洋, The Last Man BG, 2023, oil and acrylic on canvas, 197 x 170 cm

15/10/2026

Let's Talk... about Guo Jian 💬

In China, Sun Wukong is a household figure—a defiant rebel who refuses discipline and cooperation, mocks authority, and embodies mischievous resistance.

Drawing on the classic novel ‘Journey to the West’, Guo Jian’s larger-than-life painting warns against blind idealism, and tells the story of three generations—the artist, his father and his grandfather.

The young soldiers symbolise idealists like the artist and his father. While the male n**e represents the rebel and the sufferer of idealism, like all three generations.

“In a society where, one cannot openly express oneself,” says the artist, “wearing the mask of a character you aspire to become becomes a symbolic act.”

Looking for something to do this weekend? Come visit us. Entry is free.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Guo Jian 郭健, Untitled No.1, 2024, acrylic on canvas, 200 x 300 cm

13/10/2026

Lu Pingyuan’s works from his series ‘God’s Dictionary‘ feature large, aluminium sculptures inspired by Taoist Fulu talismans and AI.

Lu says, “This series was inspired by my experience of dialoguing with artificial intelligence, as well as by traditional cultural practices in which humans communicate with deities/gods and spirits.”

A Fulu (符籙) is a powerful Taoist talismanic script, essentially magical symbols and incantations painted on paper by Taoist priests to summon deities, dispel evil, bring luck, heal sickness, and offer protection. They are activated through rituals, then kept close, hung, or burned after their use period.

For the artist, the use of AI technology in his works is not out of a search for novelty or shortcuts, but a means to explore the commonalities between modern life's dependence on technology and the divine-seeking, sacrificial rituals that permeate human history.

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm.
Public Tours run at 11am and 3pm. Entry is free.
Teahouse Hours: Dumplings 11am-3.30pm, Tea 10am-5pm

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Lu Pingyuan 陆平原, God’s Dictionary Series, 2024, aluminium, dimensions variable

10/10/2026

“Human beings really underestimate plants—they are much more complicated than we think,” says Chen Hangfeng. An assortment of vegetables engage in a raunchy conversation within a Shanghai communal garden, each box lighting up as the vegetables ‘speak’. Drawing on his parents’ compound, where residents defiantly planted vegetables, management deemed “invasive,” the work references the Daoist Eight Immortals, the b***y humour of Shanghainese theatre traditions, and stubborn acts of civil disobedience against official authority.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Chen Hangfeng 陈航峰, Invasive Species - Vegetables, 2010, digital prints on lightboxes, text animation, LED screens, controllers, 4 min, 11 screens, dimensions variable
𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆: Hamish McIntosh

09/10/2026

Jing Bang, the Whale State, is an ephemeral nation. It appears briefly and then, like its leviathan namesake, vanishes beneath the ocean. Conceived as both real and fantastical, it possesses a constitution, flag, passports, and native flora and fauna, yet its people live without cities, commerce, or industry, feeding instead on starlight and dew. Rendered in traditional Chinese ink on rice paper, this monumental work references the conventions of Chinese shan shui (mountain-water) painting to examine how historical narratives both shape and impact our contemporary world.

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm.
Public Tours run at 11am and 3pm. Entry is free.
Teahouse Hours: Dumplings 11am-3.30pm, Tea 10am-5pm

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Sun Xun 孙逊, Thirty-One Metre Long Scroll Painting of Jing Bang, 2013-15, ink on handmade paper, 250 x 2962 cm
𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆: Hamish McIntosh

07/10/2026

For Geng Yini, the virtual extends beyond the online world into imagination and perception. This outlook shapes her “post-internet” paintings, particularly the ‘Feral Pagoda’ series, where wild and extinct animals appear in collage-like pyramids against imagined visions of Mount Kilimanjaro. Drawing on photographs taken in a geological museum during her expedition to Khabarovsk, Geng uses animals as metaphors for human power, social order, and survival, reflecting on the rise and fall of strength within a constantly shifting universe.

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm. Entry is free.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Geng Yini 耿旖旎, Feral Pagoda: Mountain Top, 2018-20, oil on canvas, 260.5 x 180 cm
𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Geng Yini 耿旖旎, Feral Pagoda: Passing Clouds, 2018, oil on canvas, 160 x 160 cm

06/10/2026

Introduced during the Cultural Revolution, the ‘Four Olds’ Campaign encouraged people to destroy historical sites, including parts of the Great Wall of China. Prompted by an online news report, Wang Cheng was deeply moved by the loss and damage of the Great Wall and its surrounding areas. While visiting villages nearby, he discovered this small shrine, which had formed part of the daily lives of five different families. In this work, Wang carefully reassembles the shrine as he found it in situ.

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm. Entry is free.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Wang Cheng 王成, Little Shrine, 2013, bricks, tiles, metal, wood, paper, 101 x 95 x 95 cm
𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆: Hamish McIntosh

03/10/2026

Today is World Animal Day 🐒🐯 It is a day of awareness and celebrating animal rights and welfare across the globe.

Throughout Yang Shen's practice, he makes multiple references to animals. Speaking of this, he says, “Although I grew up in Beijing, a major northern city, as a child I loved reading novels set in the forests of Yunnan, often featuring animals as protagonists, and I even attempted to write a story in a similar vein … While studying painting, I frequently went to Beijing Zoo to sketch animals from life. These experiences may have subtly influenced my present choices.”

See Yang Shen's works in our exhibition 𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Yang Shen 杨深, Drunk Monkey, 2024, oil on canvas, 200 x 150 cm
𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Yang Shen 杨深, Step Wait, 2024, oil on canvas, 100 x 80 cm

Address

30 Balfour Street (Corner Of Wellington St And Balfour St)
Chippendale, NSW
2008

Opening Hours

Wednesday	10am - 5pm
Thursday	10am - 5pm
Friday	10am - 5pm
Saturday	10am - 5pm
Sunday	10am - 5pm

Telephone

+61283992867

Website

https://whiterabbitcollection.org/

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