Moore Contemporary

DETAILS, EDGES.

Working in assembled leather CAITLIN YARDLEY creates covetable objects where seams, shapes, colour and folded edges convey authenticity in their irregularity and material tactility. Their restraint is both palpable and satisfying.

YARDLEY explains:

“Goat leather is not just a surface, it has memory and a grain. When you quilt with it,
you become aware that it is both tough and tender.” It holds light in a particular way – it
is matte but not lifeless.”

Catalogue essayist KATRINA SCHWARZ further comments perceptibly:

‘The quilting of goat leather intensifies the negotiation of abstraction: each seam
registers a decision, each adjustment remains visible. Surfaces wrap around edges so that painting behaves as object. In a development from ‘Mobile Composition’, the
introduction of colour and tonal shifts in ‘Relational Painting’ creates further
contingencies, while the material itself resists stable resolution.’

Image:
Gallery view
‘Relational Painting No 32’, 2026
quilted aniline goat leather
45 x 30 x 5cm

Adjacent to the edge of ‘Relational Painting No 62’, 2017

Image courtesy MOORE CONTEMPORARY

CAITLIN YARDLEY, ‘Relational Painting’ on view until 30th May.

PROGRESSIONS. On the move and coming soon.

Final weeks at our interim address Cottesloe ahead of opening ‘Relational Painting’ by CAITLIN YARDLEY at Cathedral Square on 1st May.

1. Facade view 26 Napoleon Street, Cottesloe

2. Preparation time at Cathedral Square

3. External view Cathedral Square Gallery during the exhibition ‘Falling from Earth’ by JACOBUS CAPONE, Feb- March, 2023

4. Preview - studio view CAITLIN YARDLEY
📸 Lucy Dawkins

5. Detail,
CAITLIN YARDLEY
‘Relational Painting No. 18’, 2026
quilted aniline goat leather,
galvanised steel
136 x 98 x 5cm
📸 Lucy Dawkins