Babette Robertson

For the Summer Group Show at Olsen Gallery, Babette Robertson presents new works from her ongoing investigation into the structures and residues of dreams. Each painting begins with written dream accounts, moving through watercolour studies that distil its logic, atmosphere, and shifting symbols of the dream state. These distilled fragments eventually expand into large-scale paintings, treating dreams not as intimate narratives but as shared symbolic architectures drawn from a collective unconscious.

This dream-based approach represents an evolution within Robertson’s wider practice. It follows her earlier environmental mapping projects—most notably Every Fallen Tree (2018–), a long-term documentation of 7,000 fallen trees created in homage to Joseph Beuys’ 7,000 Oaks. Where her attention once focused on physical landscapes and ecological erosion, it now turns toward psychic terrain. Natural forms remain, but altered: a fallen tree no longer reflects ecology, but memory—less fact, more feeling.

Across these new works, Robertson explores how dreams register and reshape the pressures of the present moment. Rather than offering escape dreams distort, repeat, and insist that we confront what waking life often obscures.

NOW SHOWING

And her hallway moves like the ocean

“I was on the Manning River at the bottom swimming hole at the farm. There was this huge fallen tree structure about 60m tall. It was very grey. … we climbed over the top. On the other side was a huge bowl thing for skating and all these skaters at some point I felt it was dangerous to be there so I climbed back over. My friend stayed in the halfpipe and then this enormous tsunami came crashing down the centre of the pipe it was so loud and I could see all the water and I knew no one would have survived. The dreams along the river continued. I can’t remember what exactly but I remember walking up and down the river.”

– Babette’s Dream Diary, March 15, 2026

It’s been raining all week in Sydney. I am dodging pools of muddy water on my morning walk as I leave a response to Babette’s recent voice message. Despite the time difference in Paris, Babette immediately responds. It is 2.45am and she is still in her studio. She sends me a selfie with her visiting mum, Belinda, who is keeping her upright with avocado Ryvitas. I know Belinda. We met by accident in Perth, when Qantas cancelled our flights while in-transit to Paris. Ours is a friendship forged in the crucible of transit purgatory. In the transfer cab to the airport, we realised that I’d taught her daughter Babette art history at the National Art School. Over beers in Singapore airport, she rewarded me with several games of “Bush Rummy”, now a favourite card game that I will forever associate with that memory.

 

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