Thea-Mai Baumann joined 4A as Artistic Director and Chief Executive Officer in February 2023. 

She is a creative executive, artist, creative technologist and producer of Vietnamese-Swiss heritage. Between 2019-2022, she was Manager and Senior Manager of International Engagement at the Australia Council for the Arts where she co-designed and led the launch of the International Engagement Strategy 2021-25, and provided oversight of strategic investments in Europe, North America and the Asia Pacific. Between 2012-2019, Thea was CEO and Founder of world-first hologram brands Metaverse Makeovers® and 超宇美人® based between Melbourne, Shanghai, and Hong Kong where she led the commercialisation of augmented-reality innovation Metaverse Nails. 

thea.baumann[@]4a.com.au

Grey Yeoh is an international arts & culture manager & producer, specialising in performing arts & visual arts. His vast arts network extends to North, South & Southeast Asia, Australia & Europe. He has more than 20 years of experience managing the arts in some of the world’s most important international cultural organisations including the Asia-Europe Foundation, the Australia Council for the Arts, National Gallery Singapore, the British Council and more. He has an MA in Arts & Cultural Leadership at LASALLE College of the Arts, a programme with Goldsmiths University of London. He wrote his thesis on the Creative Industries Policy of Malaysia 2010-2015. He has been invited to give lectures and presentations in many universities and colleges in Australia, the Netherlands, Indonesia, Singapore and Malaysia.

grey.yeoh[@]4a.com.au

Con is a curator, arts administrator and writer. His areas of interest frequently revolve around social phenomena, subcultures, contemporary urban experiences and our relationship to the built environment. Con has curated NUW🌏RLDS (2024); Dr Christian Thompson AO: House of Gold (2024); YEAR OF THE DRAGON [龙年] (2024); Louise Zhang: No dust left in the lilies (2023); Rel Pham: Cache (2023); NO FALSE IDOLS (2022); New Energy (2022); Acute Actions: Responses to I Am Not A Virus (2021); James Jirat Patradoon: ULTRA (2021); Holding Patterns (2020); DARK FANTASY (2019) and Chris Yee: HI MEDUSA! (2019) for 4A Centre for Contemporary Asian Art. Independently, he curated the exhibitions D A R K S E A – Lynn Nguyen and J.S.D. Andrews (2019), goodspace, Chippendale; CITIZENS OF NO PLACE (2018), Down/Under Space, Chippendale; and IT’S PRONOUNCED “GIF” NOT “GIF” (2017), goodspace, Chippendale. Con programmed the inaugural Club 4A for Sydney’s Chinese New Year Festival 2018 and instigated, curated and produced for 4A Digital since 2020. He has published articles for 4A Papers, un. extended, Runway Conversations and Art Collector. Con completed a Bachelor of Arts (HONS) in 2013 and a Master of Art Curating in 2016 at the University of Sydney.

con.gerakaris[@]4a.com.au

Saira Krishan is an arts worker and writer with experience in various Eora-based arts institutions including Artspace, Art Almanac and Powerhouse Ultimo. She is currently enrolled in a Master of Curating and Cultural Leadership at UNSW Art & Design, with particular curatorial interest in art from South Asia and its diaspora. Her broader academic interests range from architecture and philosophy to phenomenology and object-oriented ontology. She completed a Bachelor of Art Theory at UNSW Art & Design in 2018, and has written extensively about art, film, architecture and events throughout her career.

saira.krishan[@]4a.com.au

Reina Takeuchi is an Australian-Japanese artist-researcher, curator and dance maker interested in interdisciplinary collaboration. Influenced by her experiences living peripatetically across East and Southeast Asia during her youth, Takeuchi uses an auto-ethnographic approach to her art/performance processes. Her practice spans across visual arts, choreography, curatorial projects, written publications and creative facilitation. She has contributed to publications including Ausdance Qld, Delving into Dance, Eyeline Contemporary Visual Art magazine, 4A Papers and Runway Journal. Her curatorial projects have included installations at Ars Electronica Festival in Linz, Austria, and Holding Patterns, Truc Truong: hai con lân việt kiều, and Acute Actions: Responses to I Am Not A Virus with 4A Centre for Contemporary Asian Art. Takeuchi holds a Master of Philosophy in Creative Practice from QUT, Advanced Diploma in Dance Performance from the Sydney Dance Company Pre-Professional Year and is currently a PhD candidate at QUT, focussing on Asia-Pacific performance and curatorial projects.

reina.takeuchi[@]4a.com.au 

With lived and professional experience in both Australia and Asia, Faye takes influence by both cultures emerging and traditional. In all forms of her explorations in art, work and personality, passion and vigour is matched by an implicit and subtle methodology. Previously Faye worked in marketing for City Magazine (號外) in Hong Kong, participating on projects including The Hong Kong Art Fair and The Retrospective of Outstanding Hong Kong Artists. Faye initially graduated from the University of New South Wales with a B.A. in Media, Culture and Technology and sought to broaden her horizons of research in theory and practice by completing a Master degree in Art Curating at the University of Sydney. Faye completed curatorial internships during her degree at the Penrith Regional Gallery and post-graduation with the National Gallery of Singapore where she assisted to develop the concept of Tropical Modernism.

faye.chen[@]4a.com.au 

Astrini Alias is an arts worker, educator, and creative with a background in contemporary art, education, and museum administration. She is passionate about dynamic programming through creating dialogues and storytelling surrounding community-led voices to help make art and arts institutions more accessible and meaningful to a broader population. 

With contributions to organisations like Sydney Contemporary, Powerhouse Museum, National Gallery Singapore, Junction Arts Festival Tasmania and Playeum! she has demonstrated a strong commitment to innovative programming, museum administration and curatorial practices. She has also published a book highlighting diverse voices in combat sports titled, "CHOKE CLINCH CRANK COMBAT" where she serves as the Creative Director determining the creative vision, designing collaterals, building programming and securing partnerships with various sponsors. 

 Academically, Astrini holds teaching credentials, a Bachelor's in Contemporary Art from the University of Tasmania, and a Master's in Museum Studies & Curatorial Practices from Nanyang Technological University, Singapore. Her notable achievements include a curatorial internship at the Powerhouse Museum, a finalist in the RACT Tasmanian Portraiture Prize Award, and her work acquired by Gallery Pejean.

Lleah Smith practices at the intersection of pedagogy, art, and the curatorial. She has made significant contributions in Australia and Asia, working independently and through institutional roles. Her PhD research at Monash University and the University of Illinois aims to agitate the pedagogy, art, and curatorial relationship by positioning fermentation as a teacher, speculative metaphor and guiding force for change. Smith is dedicated to creating spaces that foster productive agitation within caring environments that enable difference to flourish.

Notably, Smith will curate the forthcoming anti-symposium; arts pedagogy as social practice, Malmö Konstmuseum (2025). She has realised the Radical Care Kit, Sydney Children’s Hospital (2023-2024), The Waterhouse, 23rd Biennale of Sydney, rīvus (2021-2022), Kaldor Studio, Kaldor Public Art Projects x Art Gallery of NSW (2019), do it (homework), Kaldor Public Art Projects (2018). Leading socially engaged art projects include, Hidden Lessons, Powerhouse (2021-2022), FUTURE SCHOOL, Cementa22 (2022).