Co-curated by Rayleen Forester & Nanette Orly
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
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
c3 contemporary art space, Melbourne
21 August – 15 September 2019
Soup, 2019, wood, faux onion and mushroom, 26 x 7 x 19 cm
Two halves of a perfect whole confronted each other at the perfect moment, 2019, window, bleach-dyed cotton, biscuit packaging, 49 x 32 cm
The field wore a complexion without features, 2019, wood, cotton, lavender scented moth balls in packaging, stainless steel, 12 x 16 cm
The ministration of the temporary outlasts the ministration of the eternal, 2019, wood, chicken wire, delicatessen paper, 61 x 37 cm
What is repressed but remains anyway, 2019, Jarlsberg cheese, axe handle, 41 x 16 x 6 cm
The serpent hisses where the sweet birds sing, 2019, Ipomea indica, butternut pumpkin, cotton flowers, dimensions variable
Throwing pearls to the pigs, 2019, wood, lavender scented moth balls, plastic pearls, wax, fabric, 37.5 x 30.5 cm
Dinner, 2019, wood, window, cabbage leaves, 65 x 45 cm
Dessert, 2019, window, fabric, cabbage leaves, 90 x 61 cm
The untimely churn, 2019, wood, steel, cheese cloth, wax, delicatessen paper, 54 x 46 cm
Pheromone trap, 2022, installation view
hous
Curated by Jemi Gale
George Paton Gallery, Melbourne
4 September – 13 September 2019
The glow on the cheek of yesterday, 2019, door, cat flap, cotton flowers, butternut pumpkin, 210 x 96 x 20 cm
Disinfested estate
Tributary Projects, Canberra
29 May – 9 July 2019
By means of the law of limitlessness, 2019, wood, paint, 93 x 170 x 57 cm
Into a hole of life’s wall, 2019, wood, window, tablecloth, wax, blackberry thorns, 54.5 x 52.7 cm
Serve to serve again, 2019, wood, glass block window, delicatessen paper, 25.5 x 25.5 x 10 cm