Beyond the range of what we can see,
an immensity hidden from view.
Minor Infinities presents four works first shown at Conical in Melbourne, 2012.
Photography by Andrew Curtis
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, The Saturday Age, June 2, 2012
A marble, swallowed and passed through the body.
100s & 1000s glued to pins with semen.
Drop in the Ocean
A handful of sand: 107,928 grains counted and piled on a shelf.
The mark left by the circular motion of a hand rubbing the gallery wall from sunrise to sunset
(7:14 a.m. to 5:19 p.m. the day before the exhibition opening).