
Children naturally learn by building foam compositions on this interactive sculpture. Maja Baska Photography
Sanné Mestrom’s (Senior Lecturer, DECRA Fellow, Sydney College of the Arts, University of Sydney) September 2, 2025 essay for The Conversation explores the importance of touch where visual art is concerned and describes an exhibition she developed for the National Gallery of Australia (NGA), Note: Links have been removed,
Walk into most art galleries with children, and you’ll hear the familiar refrain “look but don’t touch”. This instruction reveals something troubling about how cultural institutions understand learning. Museums have become temples to visual consumption, where knowledge is received through eyes rather than constructed through bodies.
This fundamentally misunderstands how humans learn – and what we deny young people when we privilege looking over all other forms of engagement.
At my exhibition The Whole is Greater Than the Sum of Her Parts, I have watched visitors consistently spend significantly longer with touchable elements compared to visual-only displays. Visitors engaging tactilely ask fundamentally different questions, too, moving from “what is this?” to “how was this made?” and “what if I tried…?”
So what happens when we design cultural spaces honouring the full range of human learning capacities?
Touch reveals what eyes miss
My exhibition includes bronze reliefs visitors can touch while viewing corresponding paintings. This simple addition reveals artistic knowledge that visual observation alone cannot provide.
Take a moment I witnessed with the work The Weight of Connection, where a child placed her hands on reliefs while looking at paintings.
These bronze sculptures translate semi-abstract paintings into three-dimensional form, but with a twist. What appears to recede in the painting might actually protrude in the bronze relief.
“This looks like the background, but it feels raised,” she said, as her fingers traced raised areas that appeared sunken in the painting. Suddenly she had to work harder to understand what was actually happening, comparing what her eyes told her with what her hands discovered.
This is spatial reasoning in action: understanding emerging not from a single sense, but from reconciling conflicting information.
The exhibition’s large playable sculpture, Ludic Folly, transforms semi-abstract figurative forms into an interactive adventure. Visitors climb, rest and navigate space. I repeatedly observe children and adults having “aha moments” as physical position fundamentally changes their understanding of sculptural forms.
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Mestrom’s exhibition ran from May 31 to September 21, 2025, which means that a visit to Australia now will not yield an experience at “The Whole is Greater Than the Sum of Her Parts” but there are still materials available online via the National Gallery of Australia’s Sanné Mestrom, The Whole is Greater than the Sum of Her Parts Learning Resources webpage, Note: Links have been removed,
This catalogue and learning resource has been written by artist Sanné Mestrom offering essays, activities, and inquiry questions designed to complement her work The Whole is Greater than the Sum of Her Parts. This resource aims to deepen understanding of how art challenges traditional perspectives, develop observational and critical thinking skills, showcase the value of play-based learning in connecting with complex artistic and philosophical ideas, support inclusive education for diverse learning styles and connect historical artistic movements with contemporary practices.
The Whole is Greater than the Sum of Her Parts, 2025 is a dedicated interactive space created by Sanné and presented as part of the exhibition Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie on display from 31 May – 21 Sep 2025. This space builds on Sanné’s artistic engagement with female representation in modern Western art. Drawing on iconic 20th century works, Sanné filters their legacies through her own systems of reference, to question notions of lineage, originality and influence.
For Sanné her works are always expressive of the body and driven by an understanding of art’s role as a conduit for embodiment and locator of place and how art can bridge the built and natural environments.
The connection to the exhibition running concurrently and serving as inspiration “Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie” is briefly explained in a July 10, 2025 University of Sydney press release, Note: Links have been removed,
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Running alongside the NGA’s blockbuster Cézanne to Giacometti exhibition until 21 September, Dr Mestrom’s interactive installation responds to works by Picasso, Matisse, Cézanne, Klee, and Giacometti. Through participatory experiences, the exhibition examines female representation in the modernist canon and reimagines how audiences engage with art.
“We’re taught to look at art from a distance, but what happens when we’re invited to touch it, build with it, and even inhabit it?” asked Dr Mestrom. “This work is about inviting people of all ages to experience art through their bodies, not just their eyes.”
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Dr Mestrom has a long tradition of incorporating play into her artwork. She uses interactive, large-scale and functional sculptures, from skating installations to children’s playgrounds, to question the physical and social aspects of urban design. Her research investigates ways that art in public places has the potential to create spaces for intergenerational play.
“I make sculptures that people can move through and interact with, because I want art to feel like part of everyday life, not something distant or untouchable,” she said. “When we play with art, we start to see the world differently. It’s a way to break out of the usual rules and routines, and that kind of freedom can be quietly powerful, even political.”
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Commercialising visual arts research
Dr Mestrom’s exhibition is the outcome of a four-year Discovery Early Career Researcher Awards (DECRA) research project and an example of research translation and commercialisation in the arts. Her broader research into playful environments and inclusive spaces has influenced urban policy and generated $1.7 million in research income, demonstrating the civic and commercial value of her work to the wider public.
The exhibition also contributes to the NGA’s Know My Name initiative, which aims to address the gender imbalance and increase the representation and visibility of women artists in Australian art collections. Through her work, Dr Mestrom is actively challenging audiences to rethink how the female body is represented and experienced.
“This is about loosening the grip of hierarchy and ownership in art,” said Dr Mestrom. “My work is inclusive, it’s playable, and it’s about making space for new ways of seeing and being in spaces accessible by all.”
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Sanné Mestrom’s website can be found here.
Finally, there’s a May 20, 2025 posting here that reveals a certain synchronicity with Mestrom\s work across time; it’s titled, “Marshall McLuhan, Harley Parker, and “multi-sensory museology”.”





