Rhythm Without End (Night and Day), 2022, Moore Contemporary, Boorloo/Perth. Gelatin silver prints (photograms). Photos: Rebecca Mansell

Rhythm Without End takes its title from a small gouache by Robert Delaunay from 1935, held at MoMA in New York, and posthumously attributed by his wife Sonia Delaunay to several of his works featuring concentric rings and discs. Built through contrast and inversion, these forms echo the negative image inherent to the photogram.

The four Aino Aalto Bölgeblick glass plates assembled within these photograms arrived in their original boxes with faded price labels still attached, indicating that they too once moved through MoMA, possibly sold through the museum’s gift shop alongside the 1984 exhibition that included Aino’s work, but was named for her husband – Alvar Aalto: Furniture and Glass. Read alongside Sonia Delaunay’s posthumous attribution of Robert’s title, these overlapping histories bring into view forms of authorship and legacy in which women remain central while often partially obscured. Here, these histories converge through the inversion, dissolution and doubling of the photogram.