In a technocapitalist age, a language of lifestyle has become synonymous with real estate terminology and upward social mobility. When the linguistic and material are formed by corporations, aspiration inherently disregards subjects outside of a white, middle class demographic. Therefore, our means of identifying value become an infested, physical quandary that can only be described as terminally disassembled.
In lieu of an enduring, adequate language to provide sustenance, a subsidiary form of wholesome enclosure begins to materialise. Under the auspices of digital humanism, an idealised mode of living à la pastoral – emerges without precedent and a definitive means to an end.
Jennifer Mathews is an artist based in Melbourne. In 2016, she completed a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts. In 2015, she graduated from the University of South Australia with a Bachelor of Visual Arts, and was the recipient of the Constance Gordon-Johnson Sculpture and Installation Prize. Solo exhibitions include Interrupted Meal, Irene Rose, Melbourne, 2018 and City of future excess, FELTspace, Adelaide, 2016. Selected group exhibitions include hangers, A flat shop, Adelaide, 2019; The Present Day Is Surrounding Me, Canberra Grammar School, Canberra, 2019; Smoke Screens, LON Gallery, Melbourne, 2018; Optimism & Futility, Irene Rose, Melbourne, 2017 and skyscraper, school, shrine, slaughterhouse, Seventh Gallery, Melbourne, 2017.