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Tyrone Wright (born 1980), better known by his pseudonym Rone, is an Australian street artist based in Melbourne.

Key Information

History

[edit]

Rone grew up in a rural location outside Geelong, Victoria, before moving to Melbourne in 2001.[1] In 2002, he started decorating skateboards and skate parks[2] before beginning to put paste-ups and stencils on walls around Melbourne.[3] He creates "Jane Doe" images.[4] In the earlier years of his career, Rone used to use wheat pasting to do quick paste-ups in busy locations, but later work on the streets are mostly created using traditional painting materials such as rollers and paintbrushes. Some of the locations he has painted include New York, San Francisco, Los Angeles, Miami, Paris, Berlin, London, Tokyo, Hong Kong, Santo Domingo, Mexico, Havana, Christchurch, and Port Vila.[5]

Rone’s work is now in galleries.[6] His work has been acquisitioned by institutions the National Gallery of Australia[7] and the National Gallery of Victoria[8] and has been shown by Stolen Space in London, Opera Gallery in New York, White Walls in San Francisco, Urban Nation in Berlin, and Backwoods Gallery in Melbourne.[9] He has also worked on a Jean Paul Gaultier museum exhibit[10] and is a brand ambassador for Uniqlo.[11]

In February 2021, Rone received an arts grant from the Australian federal government for $1.86 million,[12] one of the largest amounts awarded to a single artist in Australian history.[13]

Exhibitions

[edit]

Since 2016 Rone has been creating immersive art installations in abandoned buildings.[14] The first of these, EMPTY, took place in the old Star Lyric Theatre building in Fitzroy, Melbourne. Opened in 1911 and once seating 2,300 patrons, it was one of the first permanent movie theatres in Victoria.[15] When Rone found out the building would soon be demolished, he asked to use the space for an art exhibition. 12,000 patrons came to the show over 10 days, and photographs featured in the show are now part of the National Gallery of Victoria's permanent collection.[16]

In 2017, he was invited to transform the machine rooms of the old Alphington Paper Mill, which was built in the 1910s and was Victoria’s first paper mill.[17] A clandestine project, Rone completed a series of murals inside the decrepit building in secret. Because of health and safety requirements, only a small group of people were able to view the works, which he called ALPHA; they also had to wear reflective vests and hard hats and be given a full safety induction on arrival. The building has since been demolished.[18]

Later that year, Rone transformed a small weatherboard cottage into an immersive show called OMEGA. Part art exhibition, part installation, Omega was Rone’s first project that went beyond painting portraits in decaying buildings and created an immersive experience. He recreated the archetypal mid-century Australian interior landscape that the home’s former resident grew up in. In total, 8,000 people visited over 10 days, with an hours-long queue snaking down the chain-link fence that lined the block.[19]

Based on the success of OMEGA, Rone was invited to turn the Burnham Beeches mansion in the Dandenong Ranges into a multi-storey art exhibit. Originally built in 1933, the mammoth structure had stood empty for a quarter century. The show, called EMPIRE, was a year in the making, with the team living on site through the change of the seasons. Then in March 2019, over the course of six weeks, more than 25,000 people travelled to see the show, which included fourteen giant murals based on the manor’s history.[20]

In late 2020 Rone was a part of Melbourne's first so-called “artcade,” which was designed to bring people back into the city after COVID lockdowns.[21] Along with other artists including Adnate, Meggs, and Mayonaize, Rone was given access to several storefronts whose tenants had vacated during the previous year’s slump. Rone painted a depiction of Sleeping Beauty to represent a city finally waking up after a long slumber.[22]

Nearly 15 years after leaving his hometown of Geelong, Rone was invited back to the city he littered in illegal stencils as teen to have a solo exhibition at the Geelong Art Gallery, one of the largest regional galleries in Australia. In addition to turning their main wing into an immersive installation, it was also the first comprehensive survey of Rone’s career.[23] A large room exhibited a retrospective of his work, charting his practice from early stencils and street art to photographs documenting all of his major installations. Nearly 50,000 people passed through over 80 days.[24]

See also

[edit]

References

[edit]
[edit]
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Rone

View on Grokipedia
from Grokipedia
Rone is the of Australian contemporary artist Tyrone Wright, a Melbourne-based creator celebrated for his monumental murals and site-specific installations that portray ethereal, stylized female figures amid , delving into themes of beauty, impermanence, and the interplay between human presence and architectural ruin. Born and raised in , Victoria, Rone entered Melbourne's vibrant scene in the early 2000s as a member of the Everfresh collective, where he honed his skills through stenciling, , and wheat-pasting techniques to produce quick, ephemeral interventions in public spaces. Over time, his practice evolved toward photorealistic large-scale paintings, often executed directly on derelict buildings, factories, and abandoned structures worldwide, including commissions in New York, , and . His signature "Jane Doe" series—featuring anonymous, haunting women's faces—juxtaposes fragile elegance against crumbling environments, underscoring the fleeting nature of both art and life. Key milestones in Rone's career include his first solo gallery exhibition in 2010, which sold out and marked his shift toward institutional recognition, followed by ambitious public projects such as the Omega installation in Melbourne's Collingwood Arts Precinct in 2017 and , a transformative takeover of a decaying art deco mansion in 2019. He has collaborated with major street art initiatives, notably contributing to Urban Nation's Project M/2 in in 2014, and his works have been acquired by prominent collections while maintaining a commitment to temporary, site-responsive interventions that encourage viewer immersion. In 2021, Gallery hosted RONE in Geelong, the artist's first comprehensive career survey, showcasing over two decades of evolution from street interventions to immersive environments like Powerhouse Geelong (2014) and Without Darkness There is No Light (2021). In 2025, Rone presented immersive exhibitions including TIME at the Art Gallery of and The Workroom in , continuing to explore his core motifs through murals, soundscapes, and installations.

Biography

Early life

Tyrone Wright, professionally known as Rone, was born in 1980 in Geelong, Victoria, Australia. He grew up in the nearby rural suburb of Curlewis on the Bellarine Peninsula, in a regional Australian setting that included life on a hobby farm. Wright was the biological child of foster carers, raised alongside foster siblings from diverse and often challenging backgrounds; his family began fostering after his mother took in a vulnerable , creating a home environment filled with love, , and care. These formative experiences in enriched his childhood, instilling a profound and understanding of human resilience amid adversity, which later influenced his artistic themes of and transience. His parents were not artists, providing Wright with minimal early exposure to professional art worlds during his upbringing. As a child, he developed a keen interest in , engaging with local skate parks and the transient, community-driven culture of regional youth activities that foreshadowed his later creative pursuits.

Career beginnings

Rone, born Tyrone in , , relocated to in 2001 to pursue studies in at Melbourne Institute of Technology (RMIT). He left the program after just 12 months in 2002, securing a job as a graphic designer for the skate-wear company November after they discovered his early stencils around local skate parks. While his formal training provided foundational skills in design, Rone developed his painting abilities through self-directed practice, immersing himself in Melbourne's burgeoning street art community. Upon arriving in , Rone began his street art practice in 2001, initially experimenting with paste-ups and stencils in the city's alleys and laneways, often inspired by his background in . These early works, created under the cover of night, allowed him to engage with the vibrant local scene, where he co-founded the Everfresh Studio collective in a Collingwood warehouse in 2004, collaborating with fellow artists on guerrilla-style projects. This period marked his transition from hobbyist to committed , honing techniques like screen-printing and stenciling while working odd jobs to support his passion. For nearly a decade, Rone operated in Melbourne's underground art world, building a following through ephemeral street pieces before transitioning to gallery spaces. In 2011, after saving enough to take three months off work, he mounted his first solo exhibition, L'Inconnue de la Rue, at Backwoods Gallery in Collingwood, which sold out prior to opening and solidified his presence in the landscape.

Artistic style

Themes and motifs

Rone's artistic practice centers on the of and decay, frequently manifesting through ethereal, large-scale portraits of women integrated into dilapidated urban structures. This thematic tension highlights the fragility of aesthetic ideals against the backdrop of , portraying as transient and vulnerable to time's . The motif evokes a poignant reflection on how splendor coexists with ruin, inviting viewers to contemplate the value derived from impermanence. A signature element in Rone's work is the "Jane Doe" series, anonymous female figures sourced from fashion advertisements and reimagined as unidentified muses. These motifs symbolize transience and forgotten beauty, embodying the overlooked narratives of individuals lost to history or urban change. Introduced in 2004 as stenciled street images, the Jane Doe represents a to aggressive tropes, emphasizing feminine fragility and the ephemerality of memory. Rone delves into impermanence and by embedding his portraits within post-industrial and decaying environments, such as abandoned buildings and neglected sites, to mirror broader processes of urban transformation. These settings underscore the cyclical nature of decay and renewal in cities, where historical layers are erased for , evoking a sense of collective loss and lingering human traces. The works prompt reflection on how persists amid physical dissolution, transforming into enduring conceptual dialogue. In recent works as of 2025, Rone has expanded his motifs to include portraits of real community members, such as the 88-meter at Nyaal Banyul in featuring 14 local residents representing diverse ages and Indigenous groups, emphasizing community stories and cultural history alongside themes of transience. Personal experiences with the inevitable destruction of his street-based pieces have shaped Rone's emphasis on and human legacy, reinforcing themes of beauty's brevity and the importance of shared recollection over material endurance. As Rone observes, "Most of my works have been destroyed, especially in the last few years, but that’s never really changed since working on the street," illustrating how such losses amplify the 's emotional resonance and cultural impact. This perspective ties his oeuvre to broader meditations on legacy, where 's impermanence fosters deeper human connections.

Techniques and evolution

Rone's early artistic practice was rooted in ephemeral street interventions, employing techniques such as wheat-pasting and stenciling to apply posters and intricate layered designs onto urban surfaces. These methods allowed for rapid execution in unauthorized locations, using spray paint and screen-printing to create quick, repetitive motifs that contrasted beauty with . Wheat-pasting, in particular, involved an adhesive made from flour and water to affix paper-based works, enabling the artist to disseminate imagery efficiently while embracing the transient nature of . As Rone's career progressed, he transitioned from these small-scale, illegal paste-ups to more labor-intensive freehand on large walls, incorporating acrylics and oils for greater depth and texture. This shift began around the early , moving away from stencils toward organic brushwork that introduced rawness and emotional expressiveness, often executed on multi-story buildings with the aid of cherry pickers. The use of traditional painting materials facilitated bolder, site-specific murals that integrated with architectural elements, marking a departure from the constraints of quick-hit street actions. This evolution extended to commissioned works and immersive installations, where Rone adapted his techniques to encompass and lighting to transform entire environments. By the mid-2010s, he began creating walk-through experiences in abandoned buildings, layering painted portraits with curated illumination to enhance atmospheric tension and viewer immersion. These site-specific projects, often developed in with galleries and institutions, represented a maturation from guerrilla tactics to controlled, large-scale narratives that prioritized environmental interaction over mere surface application.

Major works

Street murals

Rone's early street murals, created between 2001 and 2010, primarily featured stencil portraits of enigmatic female figures in Melbourne's narrow alleys and laneways, contributing to the city's burgeoning during that period. These works, often executed with and spray paint, appeared on walls in areas like , blending subtle portraits with the urban grit of backstreets and drawing attention to overlooked spaces. As Rone's practice expanded internationally from the early 2010s, he painted murals in cities including New York, , , , , and , frequently selecting abandoned or derelict buildings as canvases to juxtapose beauty against decay. Notable examples include large-scale portraits on crumbling structures in these locations, such as a multi-story female figure on an empty in and ethereal faces on disused factories in , emphasizing themes of transience through the murals' integration with weathered surfaces. These international pieces often referenced recurring motifs of fragile in his portraits. In more recent years, Rone has undertaken large-scale commissioned outdoor murals, exemplified by his 2025 Geelong waterfront project—an 88-meter-long wall featuring 14 portraits of local residents painted on the rear of the Nyaal Banyul . This work, completed over several weeks using acrylics and rollers, spans multiple stories and celebrates community diversity, transforming a prominent public facade into a vibrant landmark. Rone's street murals have significantly influenced urban environments by revitalizing neglected areas and fostering public interaction with in everyday settings, as seen in how his Melbourne alley pieces became integral to the city's and tourist pathways. In , the 2025 mural has enhanced community pride and belonging, encouraging residents to engage with public spaces and reinforcing connections to local heritage. Overall, these outdoor works promote broader public appreciation for , turning transient walls into enduring symbols of cultural dialogue.

Immersive installations

Rone's immersive installations represent a significant evolution in his practice, shifting from large-scale street murals to site-specific, multi-sensory experiences that repurpose abandoned or derelict structures into narrative-driven environments. These projects often explore themes of amid decay, impermanence, and human stories embedded in forgotten spaces, engaging visitors through visual art, sound, scent, and . By transforming entire buildings, Rone creates temporary worlds that invite contemplation of transience, drawing on his street art roots to blend with emotional depth. One of Rone's early major installations, Powerhouse Geelong (2014), transformed spaces within the abandoned Geelong Power Station into a large-scale ephemeral project. As Australia's largest legal indoor venue for such works at the time, Rone contributed monumental murals of his signature female figures directly on the decaying industrial walls, allowing visitors to wander through the vast, atmospheric interiors. The project highlighted themes of beauty in ruin and drew significant public engagement before the site's eventual redevelopment. One of Rone's earliest major installations, Empty (2016), took over the soon-to-be-demolished Star Lyric Theatre in Fitzroy, , an building originally opened in 1911. The project featured a monumental titled The Star Lyric on the theatre's facade, alongside interior works on paper, canvases, and a component that captured the site's hidden history. Collaborating with stylist Carly Spooner, Rone restored elements like a 100-year-old trompe l'oeil ceiling while emphasizing the contrast between the building's faded grandeur and its impending destruction. The installation attracted over 12,000 visitors during its 10-day run from October 14 to 23, 2016, serving as a poignant farewell before the structure was razed for apartments in early 2017. In early , Rone's Alpha project occupied the machine rooms of the decommissioned in Melbourne's inner north, Victoria's first established in the . This secretive endeavor involved painting colossal portraits of women directly onto the brutalist brick interiors, continuing his "Empty" series motif of beauty in industrial decay. Due to the site's structural hazards and impending for the YarraBend project, public access was severely limited; only a small group viewed the works during a brief final weekend before they were painted over. The installation marked the beginning of Rone's collaborations with developers to artistically intervene in sites slated for redevelopment. Later that year, (2017) transformed an early 1900s weatherboard cottage on the same Alphington site into a "fantasy film set" evoking mid-20th-century Australian suburbia. Rone adorned the interiors with haunting portraits of anonymous women ("Jane Does"), paired with period furnishings, softer color palettes, and domestic vignettes curated by Carly Spooner to contrast nostalgia with the building's doom. Open to the public for nine days in July, the free drew crowds ranging from young families to elderly locals who connected with its 1970s-era resonances, though exact attendance figures vary in reports. The cottage was demolished shortly after, underscoring the project's theme of fleeting beauty. Rone's (2019) expanded this approach to grander scale at Burnham Beeches, a derelict 1930s mansion in Melbourne's , abandoned for over 25 years. Over 12 months, he curated a multi-sensory experience across the estate's rooms, incorporating ethereal portraits, custom soundscapes, botanical elements, scents, and overlays to evoke fragmented stories of its former inhabitants without a fixed . Visitors navigated the decaying interiors at their own pace, each encounter uniquely shaped by light, shadow, and personal interpretation. The ticketed exhibition, running from March 6 to April 22, 2019, sold out and attracted approximately 26,000 attendees over six weeks, highlighting Rone's growing international acclaim. Amid the , Rone contributed to Artcade (2020), Melbourne's inaugural "artcade" initiative that repurposed vacant CBD storefronts into accessible art spaces to revitalize the city center. Working with artists like Adnate and Reko Rennie under Juddy Roller collective, Rone created , a pink-hued installation in a West Side Place arcade featuring a of a reclining amid signs and floral motifs symbolizing resilience and renewal. This collaborative, immersive project encouraged foot traffic in empty commercial areas, blending with temporary indoor environments to foster community reconnection post-pandemic. Without Darkness There is No Light (2021) was a site-specific immersive installation presented as part of Rone's career survey at Gallery. Inspired by trompe l'oeil techniques, it featured ethereal female portraits integrated into architectural illusions within a gallery room, exploring contrasts of light and shadow amid themes of beauty and transience. The work invited viewers into a contemplative space that blurred the boundaries between and environment. In 2025, The Workroom reemerged as a standalone installation at The Outsiders Melbourne on Flinders Lane, recreating a key room from Rone's earlier Time project at Flinders Street Station. Honoring 's post-World War II garment district and its Jewish heritage, the space features a large-scale of model Teresa in a dusty filled with machinery, op-shop furnishings, and artificial cobwebs to evoke industrial nostalgia and . Accompanied by original from Nick Batterham, the free exhibition ran from to May 25, 2025, offering visitors an intimate multisensory dive into a bygone era of the city's creative underbelly.

Exhibitions and legacy

Solo exhibitions

Rone's first major institutional retrospective, titled RONE in , was held at the from 27 February to 16 May 2021, spanning 79 days and attracting 46,801 visitors. The exhibition provided a comprehensive overview of his career, from early works and to large-scale installations, transforming the gallery's Douglass Gallery into a melancholic salon evoking faded grandeur. This show marked a significant milestone in presenting his ephemeral street practice within a traditional gallery context. Rone's most ambitious solo project to date, TIME, premiered at Flinders Street Station in from 28 October 2022 to 23 April 2023, transforming the station's disused third-level ballroom and 11 adjacent rooms into an immersive multisensory installation. Drawing over 100,000 visitors during its sold-out run, the exhibition reimagined mid-20th-century through decaying interiors, nostalgic artifacts, and site-specific murals, blending with theatrical elements. The TIME installation was extended and expanded for a solo presentation at the Art Gallery of (AGWA) in Perth, running from 2 July 2024 to 2 February 2025 in the Centenary Galleries. This iteration introduced new rooms exclusive to AGWA, further immersing audiences in themes of impermanence and urban memory, and solidified Rone's transition from street interventions to large-scale institutional shows. In 2025, Rone completed a site-specific public mural titled Our Time In on the exterior of the Nyaal Banyul development site in . Spanning 88 meters and featuring portraits of 14 local figures representing the region's social and cultural history, the project was underway as of August 2025 and finished in October 2025.

Recognition and collections

Rone has been widely recognized as one of Australia's preeminent street artists, with his works integrated into prestigious public collections that underscore his transition from urban murals to institutional acclaim. His pieces have been acquired by the , including a 2010 work from the exhibition supported by patron funding. Similarly, the has incorporated his art through commissions and acquisitions, such as collaborations tied to major exhibitions like The Fashion World of . These institutional endorsements highlight Rone's status among leading contemporary Australian artists, with additional holdings in collections like the State Library of Victoria and Geelong Gallery. In February 2021, Rone received a $1.86 million grant from the Australian federal government's RISE Fund through the Office for the Arts, one of the largest single-artist awards aimed at revitalizing the arts sector post-COVID-19. This funding facilitated large-scale projects that bridged street art with formal gallery contexts, exemplifying governmental investment in urban artists' evolution. Rone collaborated with the (NGV) for the 2014 exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, leading a crew of ists to create a spectacular backdrop for music performances during the NGV's Friday Nights series. Organized in partnership with the and Maison Jean Paul Gaultier, this contribution integrated his style into a high-fashion retrospective, enhancing the thematic exploration of cultural icons. Rone's influence extends to the broader by catalyzing street art's integration into mainstream institutions, challenging traditional boundaries between ephemeral urban interventions and permanent collections. His emphasis on beauty-decay narratives has elevated urban art's conceptual depth, while immersive installations in disused spaces have inspired policies and practices that preserve and promote site-specific works. This legacy positions Rone as a pivotal figure in redefining street art's role in cultural discourse, fostering greater accessibility and institutional legitimacy for the medium.

References

  1. https://www.hunterandfolk.com/journal/rone
  2. https://urban-nation.com/artist/rone/
  3. https://www.geelonggallery.org.au/whats-on/exhibitions/rone/jane-doe-2650
  4. https://www.geelonggallery.org.au/rone
  5. https://artgallery.wa.gov.au/whats-on/exhibitions/time-rone
  6. https://beat.com.au/street-art-royalty-rone-brings-acclaimed-exhibition-the-workroom-to-the-outsiders-melbourne/
  7. https://www.aasd.com.au/artist/50132-rone/
  8. https://www.abc.net.au/news/2025-09-21/tyrone-rone-wright-new-mural-captures-geelong-faces/105762354
  9. https://www.fluoro.life/2022/12/tyrone_rone_wright/
  10. https://www.lighthousefoundation.org.au/news/melbourne-artist-rone-announced-as-lighthouse-foundation-ambassador/
  11. https://www.smh.com.au/entertainment/this-rise-of-rone-20141110-11hva1.html
  12. https://streetartunitedstates.com/interview-rone/
  13. https://www.aquila.com.au/style-guide/rone
  14. https://www.theguardian.com/artanddesign/2017/jul/24/beauty-meets-decay-melbourne-artist-rone-takes-over-abandoned-house-set-for-demolition
  15. https://www.abc.net.au/news/2016-10-19/rone-street-artist-paints-women-ruins/7889206
  16. https://www.geelonggallery.org.au/whats-on/exhibitions/rone/jane-doe
  17. https://theconversation.com/street-art-in-a-white-cube-rone-at-geelong-gallery-marries-ephemeral-beauty-with-a-proven-formula-155365
  18. https://www.bigissue.com/culture/art/rone-most-of-my-works-have-been-destroyed/
  19. http://www.powderzine.com/node/252
  20. https://www.upstart.net.au/an-interview-with-australian-street-artist-rone/
  21. https://www.thewalls.com.au/prominent-street-artists-in-australia-rone
  22. https://www.isupportstreetart.com/artist/rone/
  23. https://www.geelongindy.com.au/indy/18-12-2014/high-art-of-rone-transforms-powerhouse/
  24. https://www.dailymail.co.uk/news/article-3849878/Melbourne-street-artist-Rone-s-extraordinary-two-storey-portraits-painted-illegally-old-Star-Lyric-Theatre-Fitzroy-Melbourne-demolished.html
  25. https://www.designboom.com/art/rone-murals-empty-abandoned-buildings-11-03-2016/
  26. https://mymodernmet.com/rone-street-art-empty/
  27. https://www.timeout.com/melbourne/news/a-massive-88-metre-mural-by-famed-artist-rone-is-coming-to-regional-victoria-100325
  28. https://plenary.com/americas/news/geelong-locals-celebrated-on-massive-mural
  29. https://www.woodsbagot.com/global-studio/news/progress/rone-mural-unveiled-for-nyaal-banyul/
  30. https://rone.art/pages/about-us
  31. https://www.theguardian.com/artanddesign/gallery/2015/may/25/australia-street-art-mecca-powerhouse-geelong-in-pictures
  32. http://barwonblogger.blogspot.com/2015/04/the-power-of-art.html
  33. https://rone.art/blogs/work/empty
  34. https://rone.art/blogs/work/alpha
  35. https://www.designboom.com/art/rone-the-alpha-project-melbourne-alphington-paper-mills-03-16-2017/
  36. https://rone.art/blogs/work/omega
  37. https://www.abc.net.au/news/2017-07-26/omega-project-melbourne-street-artist-transforms-derelict-house/8744602
  38. https://rone.art/blogs/work/empire
  39. https://www.abc.net.au/news/2019-03-05/rone-empire-burnham-beeches-melbourne-installation-street-art/10862082
  40. https://www.youtube.com/watch?v=pzJMuabCWRg
  41. https://www.abc.net.au/news/2020-11-13/artcade-exhibition-to-lure-people-back-into-melbournes-cbd/12880742
  42. https://www.geelonggallery.org.au/whats-on/exhibitions/rone/without-darkness-there-is-no-light
  43. https://www.theoutsidersmelbourne.com/rone-the-work-room
  44. https://www.weekendnotes.com/workroom-by-rone-free-exhibition/
  45. https://www.geelonggallery.org.au/cms_uploads/docs/gg16673_annual_report-2021.pdf
  46. https://www.dezeen.com/2023/01/06/rone-time-exhibition-melbourne-flinders-street-station-australia/
  47. https://rone.art/blogs/work/time
  48. https://time-rone-agwa.com/
  49. https://www.geelongadvertiser.com.au/news/geelong/first-look-faces-to-feature-on-huge-convention-centre-mural/news-story/387336ad7730fc585cb67029f555a644
  50. https://digital.nga.gov.au/archive/exhibition/spaceinvaders/default.cfm%253Firn=198741&bioartistirn=33691&mystartrow=253&realstartrow=253&mnuid=4&dtlview=true.html
  51. https://artsreview.com.au/rone-in-geelong/
  52. https://www.theage.com.au/national/street-artist-rone-scores-a-covid-grant-coup-20210202-p56yvt.html
  53. https://www.ngv.vic.gov.au/media_release/friday-nights-at-jean-paul-gaultier/
  54. https://www.theguardian.com/artanddesign/2022/oct/27/rone-takes-over-flinders-street-stations-hidden-ballroom-its-my-biggest-project-yet
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