We are delighted to debut Lance Corlett’s first solo exhibition following the strong reception of his works in recent group exhibitions.

Lance Corlett’s practice is grounded in finely honed painting skills developed through more than a decade of traditional sign painting, gilding and mural work. This background has shaped a discipline of precision, control and exacting technique that now underpins his contemporary visual language. Since founding Steady Hand Studio in 2015, Corlett has expanded these foundations into a distinctive painting practice that integrates hand drawn lettering, glass processes and historic sign making methods to explore ambition, nostalgia and the evolving markers of success.

Coming Soon considers the porous thresholds between past, present and future, the shifting moments in which once significant achievements soften in meaning as new ambitions rapidly take their place. Corlett turns his attention to these states of suspension: the interval between promise and disappointment, the objects we pursue then abandon, the commercial relics that quietly contour our environments and shape how we move through the world.


Drawing on early twentieth century Sydney pub mirror sign making, Corlett uses traditional techniques including the rare process of transferring painted imagery onto glass so that only the fragile paint film remains, suspended within mirrored leaf. This produces a surface both archival and unexpectedly futuristic, a dreamlike tension between reflection, translucency and time.

“Architectural trends move in waves, adopted and discarded almost unquestioned. Yet I keep returning to buildings that once embodied the future, now overlooked and marked by aluminium, plastics and lino. For me, these materials carry a nostalgic futurism, something familiar that still leans forward.”

Lance Corlett

Lance Corlett is a Sydney based artist and traditional sign painter whose work reimagines the lineage of early sign making for a contemporary context. Working with techniques that date back more than a century, he transforms fleeting architectural details, shifting light and rhythmic facades into oil paintings on paper, later transferred onto gilded glass and framed in mirrored gold leaf. Drawing on an early twentieth century New South Wales commercial technique once used for advertising, Corlett reinvigorates this historic process to reveal the poetic, often overlooked beauty embedded within the city’s built environment.


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