Kate Shaw’s Spilling Twilight exhibition, held at 212 Projects in New York, marked a pivotal moment in her career—both creatively and contextually. The show unfolded during her year-long residency at Flux Factory with Residency Unlimited, a period that allowed her to immerse herself in a different cultural and artistic environment while extending the reach of her practice beyond Australia. In Spilling Twilight, Shaw expanded her signature landscape language, continuing to explore the psychological and environmental terrain through poured acrylics and resins, yet with a more cosmopolitan sensibility. The palette in this series shifted into dusky, luminous tones, evoking the liminal space of twilight as a metaphor for environmental uncertainty and perceptual ambiguity. In the global art capital of New York, her landscapes gained new resonance—seen less as representations of remote Australian wilderness and more as universal meditations on instability, collapse, and transformation.

Showing in New York was significant not just for visibility, but for the dialogue it enabled with a broader, more international art audience. In a city known for its history of conceptual experimentation and material innovation, Shaw’s work offered a unique synthesis of formal beauty and ecological critique. Her process—pouring and manipulating fluid pigments to mimic geological and biological forms—echoed both abstract expressionism and psychedelic aesthetics, while grounding itself firmly in the language of environmental consciousness. 

Spilling Twilight not only represented a personal artistic evolution but also cemented Shaw’s reputation as an internationally significant artist. The exposure that came with exhibiting in New York—alongside her participation in other key group shows like Missing Link and Lumen Festival—amplified her voice in the global conversation about art and ecology. Importantly, it demonstrated how an artist deeply connected to the Australian landscape could articulate concerns that were both local and globally