Finalist: Archibald Prize 2026

A guide and making ofAt the studio of Wiliam YangBlack Hole: Ruthless Preceptor of Space and Time

acrylic on carved plywood ● 142 x 106cm

This carved and painted portrait depicts William Yang at 82, an artist whosephotographs have documented five decades of social and artistic culture in Sydney. Ashe digitises his vast archive, he stands as both custodian of history and a bridgebetween generations.

In recent years, William has come to embody the role of an elder within the community,particularly among younger Asian and queer artists. This work imagines a simpleencounter: the viewer enters his studio and is met with his warm smile, an openinvitation to ask, to listen, and to learn.

Seated in a relaxed slouch, with his camera by his side, he is surrounded by toweringstacks of archival boxes. He appears at ease yet alert, as though about to rise andwelcome you. The orange vintage AGFA film boxes and folders are arranged in quietreference to classic Penguin book covers, holding decades of lives, moments,tenderness, and loss; stories waiting patiently to be shared.

At its heart, this portrait is a simple gesture of respect, honouring William Yang and allelders as keepers of knowledge, as guides, and as treasures within our lives. May weacknowledge them, cherish their presence, and celebrate their accomplishments with pride and gratitude.

Kean Onn See

At the studio of William Yang 2026
132x105cm framed
Arclylic on carved plywood.

Drawing, carving and painting on plywood

After countless draft, interigating the compositions on paper. I then replicate the image on to the board.

Using a combination of traditional and modern engraving tools, I carefully carved the lines to achieve the desired texture. The carved woodblock was then gently sanded.

Finally, I applied layers of paint, carefully choosing colors that would enhance the intricate details and bring the composition to life.

Artist's Note

I met William Yang by chance in early 2025 and, on the spot, asked if he would sit for me. He said yes without hesitation.

Across three sittings over twelve months, through countless drafts and a concentrated three week production, this painting came into being. Though submitted to the Archibald Prize, it was always a self-assignment: a way to push myself, to be bolder, and to hold my own, whatever that means.

Most of all, it was an honour to spend time with William. During our first sitting, I asked how he would describe himself.
“Artist,” he said, with absolute conviction.

When I asked how he would like to be remembered, he paused, then replied gently: "By my work and as a good person."

I left that first sitting with a quiet sense of purpose. This sense of duty had guided the making of this work, and led me to reflect on the kind of artist, and person, I hope to become.

I hope that when you stand before this painting, you feel as though you have stepped into the studio of William Yang and are as encouraged, inspired and embranced by his kindness, as I was.

Kean Onn See