Without knowing the particular physiological journeys that Jeremy Bakker's impossibly intricate sculptural installations have taken, one might be left a little unfulfilled at the sight of his latest exhibition. Comprising a painstakingly detailed suite of minute works, Minor Infinities immediately reveals itself as a study of matter, the kind of microscopic building blocks that belie our understanding of physical form. A small shelf props up a tiny pile of sand; 107,928 grains to be exact, counted by the artist. A diminutive, perfect glass sphere sits on a plinth in the middle of the space, the glow of the gallery lights casting intricate refractions. That it is in fact a marble that the artist has ingested and later excreted makes it a residue of bodily process. The vast wall installation of geometrically arranged pins – each with a single, sugary “hundred and thousand” stuck to its end – seems to map the cellular structures that underlie living form: each speck of candy garnish is affixed via a droplet of Bakker's semen.

Dan Rule in "Life & Style", p. 5, The Saturday Age, June 2, 2012