Tom Nicholson and Dale Harding discuss making work on the surfaces of architecture, air and particles as a way to make marks, and absences and politics in stencilling processes.

In Nicholson’s work, the line is a tool for writing, drawing and redrawing borders, evoking little known histories and intersections, and expanding into the space of possibility through abstraction.

A descendent of the Bidjara, Ghungalu, and Garingbal peoples, Harding’s recent work Wall Composition in Reckitt’s Blue, commissioned for the Queensland Art Gallery’s Australian art collection takes inspiration from the rock paintings in and around Carnarvon Gorge in Central Queensland.