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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.

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

01/10/2026

Due to unforeseen circumstances, the White Rabbit Gallery and Teahouse will be closed today, Friday 2 October 2026.

We apologise for any inconvenience and thank you for understanding. 🐇❤️

01/10/2026

Contemporary artist Sun Xun is perhaps best known for his elaborate animations, sprawling ink paintings, mythical charcoal drawings and detailed, large-scale woodcuts. He knew he would be an artist from the age of three. “I was making paper birds, and I really wanted to make them fly,” he says.

Sun Xun’s works often highlight the absurd incongruities between authorised histories and personal recollections. He is particularly concerned with how history can be manipulated, interrogating the differences between official narratives presented by public agencies, politicians and the media—and more marginalised accounts that stem from ordinary people’s experiences.

Working across multiple media, navigating freely between 2D, 3D and time-based forms, he has become known for combinations of meticulously crafted woodcut prints, charcoal drawings and ink paintings, stop-motion animation techniques and installation. Sun creates complex fables that critique the global twenty-first century culture of avid consumption, corruption and greed, referencing Chinese history and tradition.

See Sun Xun's work in our current exhibition 𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝.

𝘼𝙧𝙩𝙬𝙤𝙧𝙠𝙨 𝙛𝙚𝙖𝙩𝙪𝙧𝙚𝙙:
Thirty-One Metre Long Scroll Painting of Jing Bang, 2013-15, ink on handmade paper, 250 x 2962 cm
Tears of Chiwen, 2017, video animation, 9 min 10 sec
"Magic of Atlas" – Luocha: An Infinite Journey, 2020-22, coloured woodblock relief, 244 x 1586 cm (13 panels)

30/09/2026

Zhao Yang’s practice tends to centre on the cessation of modern industrial civilisation and a return to what he calls “paradise lost.”

‘The Last Man’ series of paintings reflect the misty world that Zhao has created over many years. His characters are solemn and imbued with a sense of obligation. Most of them have their backs to the audience and walk towards the depths of the painting, fading away into the perplexing wildness along the winding and treacherous mountain paths.

Describing this work, Zhao Yang says, “A migrating tribe, a homeland they can never return to, their sorrow strewn across the snow-filled hollows they leave behind.”

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

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Zhao Yang 赵洋, The Last Man QG, 2016, oil and acrylic on canvas, 84 x 104 cm

29/09/2026

Fascinated by alchemy, Huang Bo-Hao has painted with azurite, lapis lazuli and cinnabar. Now he turns to gold, which Chinese alchemists once believed could confer immortality. Like black and white, he says, “gold is an anti-colour”.

'Untitled’ is a field almost two metres square of shimmering gold leaf on linen reveals a faint grid formed by the overlapping sheets of paper-thin gold, visible as a trace on the surface. Huang Bo-Hao used gold and black to create this artwork because “these colours exist independent of everything else.” Gold and black are very important in Taiwan. In the past, Taiwanese people would cover black Buddha statues with gold leaf.

The 22-karat yellow gold leaf used in the artwork was made to the artist’s specifications by a goldsmith from Lukang–a tiny settlement in north-western Taiwan famous for its production of gold leaf and magnificent gold and black Buddha statues.

𝘽𝙡𝙖𝙘𝙠 𝙈𝙮𝙩𝙝 is open Wednesday-Sunday 10am-5pm.
Public Tours run at 11am and 3pm. Entry is free.

𝗔𝗿𝘁𝘄𝗼𝗿𝗸: Huang Bo-Hao 黃柏皓, Untitled, 2016, gold leaf on linen, 190.5 x 190.5 cm
𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆: Image 2 Hamish McIntosh

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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