Home might be a mutable concept, but some objects retain the aura of belonging and comfort even outside the walls we reside in. For Monica Rohan, those items are patterned fabrics and bentwood dining chairs, which venture outdoors in her vibrant oil paintings.

The Brisbane-based artist has long depicted the supple folds and bright motifs of textiles, which tended to swaddle her characters or hide their faces among natural landscapes. Upholstered loungers and carved wood seats have similarly appeared in unusual spots, precariously holding a figure while nested in a slim hedge or slumping down a small hill.

In recent years, though, Rohan’s characters have slowly disappeared. Arms that once pulled back a curtain or reached out for stabilization are no longer present, leaving just the domestic objects in place. “I’ve found this quite freeing, allowing me to explore new ideas about the relationship between people and the landscape,” the artist tells Colossal, noting that bentwood chairs have become human stand-ins. “I love their elegant yet rickety construction, and I grew up with them around my kitchen table, so they’re a strong reminder of home for me.”

Many of the works shown here are part of this transition and will be shown this June at Sophie Gannon Gallery in Melbourne for Rohan’s solo exhibition, Invitations. Against dramatic alpine summits, fast-moving streams, and lush, springtime meadows—scenes derived from the artist’s hiking trip through Tasmania—plaid tablecloths and crocheted blankets float above the earth as if hung on an imperceptible line strung between two invisible poles.

“With their exaggerated patterns and strange billowing forms, they appear more ambiguous, wavering between unassuming decoration and smothering intrusion,” the artist adds. “From their precarious vantage points, the bentwood chairs no longer offer safe and restful repose. They invite the viewer to join their predicament.”

Explore more of Rohan’s paintings on Instagram.