The work of Kez Hughes knowingly and willingly enters into a long history if art's obsession with originality and authenticity. In this exhibition, Kez Hughes is the master, the apprentice and the fake.

Kez continues the practice of re-painting the work of her contemporaries. In a series of oil-paintings Hughes re-presents the work of familiar Australian artists in part documentary, part pastiche to create art about art. Acting as both archive and orginal, Hughes paintings reimagine connections between artists that have, most likely, never been shown together. In each painting's meticulous reproduction, Hughes pays homage to those working around her whilst critiquing the cultural and economic structures from within which contemporary artists much participte. Assuming the position of producer, curator and consumer simultaneously, Hughes exposes the insularity of the artworld and recognises her own participation in relation to it. As part of a long history of appropriation since the 19th century, Hughes' work raises questions about authorship and ownership to question the very definition of art itself.