LAILA, Sydney
20 September – 4 October 2024
“Mathews’ works are conjured from the intelligence of clamps, wheels, gates, fences, windows… basically tacit guides for how to move and look. Just like elevator doors (or a gun), their appearance alone implies an action. Mathews’ pieces are handmade and technically functional, but also diagrams - the size of humans; the boiled down ingredients of industrial agriculture and modernist museum design. In all my time in art schools, galleries, and perusing media, work that is most successfully “comprehended” is usually somehow in conversation with a room, approachable by a human. Comprehension of design is a treat and confusion by design is a threat; understand the assignment and get fed. Understand meaning, and get fed. Dwell in not-knowing and receive the stick. I imagine that by the time the human species ends, in some kind of mass-fermentation/ripening event where humans “go off” because of the relentless humidity; such a large portion of the world will be adapted to human dimensions that other aspects of nature will begin to parasitically adapt to them too. Consider the native white Ibis; the bin is a feedlot; a dump is a sanctuary; they scour the city; the city is a dump.”
Link to full text by George Egerton-Warburton
Poster by Stanton Cornish-Ward.
Feeder (child), 2024, powder coated steel and aluminium, 120 x 34 x 34 cm
Feeder (young adult), 2024, powder coated steel and aluminium, 163.4 x 49 x 49 cm
Feeder (senior), 2024, powder coated steel and aluminium, 158 x 60.5 x 60.5 cm
Peak of inflated expectations (snoring, glaring multiples), 2024, hot-dipped galvanised steel, epoxy resin, 106 x 76.5 x 5 cm
Trough of disillusionment, 2024, hot-dipped galvanised steel, epoxy resin, 121 x 62 x 3.5 cm
Plateau of productivity (faceless grazing), 2024, hot-dipped galvanised steel, epoxy resin, 61 x 83 x 5 cm
Carrot or the stick, 2024, photographic prints on adhesive vinyl, 300 x 30 cm each
Photography by Felipe Olivares.
Co-curated by Rayleen Forester & Nanette Orly
Teresa Busuttil, Georgia Button, Brad Darkson, Jennifer Mathews, Truc Truong
ACE, Adelaide
11 November – 16 December 2023
Text by Sasha Grbich
Waiting to get cooked, 2023, ceiling tiles, LED light panels, pine, dimensions variable
Austerity meal (rice on a needle with beetroot), 2023, stainless steel, photographic print on adhesive vinyl, aluminium, 120 x 99 x 26 cm
Under easy chairs, 2023, stainless steel, resin, hardware, 138 x 160.5 x 46 cm
Starch cross, 2023, stainless steel, photographic print on adhesive vinyl, aluminium, 132.5 x 100 x 6.5 cm
Photography by Sam Roberts. Project supported by Arts South Australia.
Coercion Cradle
Curated by Oscar Capezio
Al Fresco, Canberra
14 – 24 October 2023
Catalogue with text by Oscar Capezio
Photography by David Paterson & Oscar Capezio. Project supported by Arts South Australia.
Staple
LAILA, Sydney
19 May – 3 June 2023
Text by Audrey Pfister
Egg and hammer cabinet, 2023, stainless steel, photographic print on adhesive vinyl, acrylic, fluorescent light, claw hammer heads, 114 x 135 x 52 cm
Starch cross, 2023, stainless steel, photographic print on adhesive vinyl, aluminium, 132.5 x 100 x 6.5 cm
Tunnel vision, 2023, stainless steel, photographic prints on adhesive vinyl, acrylic, aluminium, 41 x 47 x 6.5 cm
Austerity meal (rice on a needle with beetroot), 2023, stainless steel, photographic print on adhesive vinyl, aluminium, 120 x 99 x 26 cm
Photography by Jessica Maurer. Project supported by Arts South Australia.
Curated by Isaac Christie & Adrian de Vries
Sarah Ujmaia, Harry Hay, Aaron C. Carter, Adrian De Vries, Jennifer Mathews, Isaac Christie
MILK Gallery, Melbourne
15 September – 29 September 2022
The extreme, 2022, stainless steel, photographic print on adhesive vinyl, aluminium, 118 x 38.5 x 3.8 cm
The sun ceases to give without receiving
Kings Artist-Run, Melbourne
11 August – 3 September 2022
Text by Tara O’Conal
Crawl space, 2022, laser cut stainless steel, photographic prints on adhesive vinyl, acrylic, LED lighting, stained glass, 80 x 140 x 70.5 cm
Extreme Mating of a Pugnacious Dreamer
with Alexandra Ragg and Alice Ramsden
TCB Gallery, Melbourne
20 July – 7 August 2022
Text by Dean West
Illumination in the worn aisle, 2022, stainless steel, aluminium, photographic print on adhesive vinyl, 90 x 120 x 3.8 cm
Full documentation via KubaParis
Jennifer Mathews and Mia Middleton
Haydens Gallery, Melbourne
27 March – 1 May 2021
Glancing chair, 2021, steel, stained glass, 140 x 70 x 110 cm
Webway, 2021, installation view
Water-bear, 2021, Tasmanian oak, stained glass, Oregon timber, transparency print, aluminium, 22.6 x 21.3 cm
Butterfly, 2021, Tasmanian oak, stained glass, Oregon timber, aluminium, 22.6 x 21.4 cm
Diamond, 2021, Tasmanian oak, stained glass, Oregon timber, aluminium, 22.5 x 21 cm
Abnormal load, 2021, Tasmanian oak, stained glass, Oregon timber, transparency print, aluminium, 22.5 x 21 cm
Flower, 2021, Tasmanian oak, stained glass, Oregon timber, aluminium, 22.5 x 21 cm
Pillow, 2021, Tasmanian oak, stained glass, Oregon timber, transparency print, aluminium, 22.5 x 21 cm
Untethered, 2021, Tasmanian oak, stained glass, Oregon timber, transparency print, aluminium, 22.5 x 21.3 cm
Lying cow, 2021, pine, stained glass, photographic print, 87.5 x 122.5 cm
Full documentation via Haydens Gallery
Disneyland Paris, Melbourne
Humble, 2020, installation view
Dolorifuge (solace), 2020, stained pine, resin, photograph, 14 x 14.5 x 4.2 cm
Forbearance, 2020, stained pine, resin, photograph, 13.5 x 14.2 x 4.2 cm
Two pigs, 2020, stained pine, resin, photograph, 13.8 x 14.2 x 4.2 cm
Snout, 2020, stained pine, resin, photograph, 14.5 x 15 x 4.2 cm
Nature could break man, but she could not humiliate him, 2020, stained pine, resin, photograph, 13.4 x 14.3 x 4.2 cm
Afield, 2020, stained pine, resin, photograph, 14 x 14.4 x 4.2 cm
Humble, 2020, installation view