Exhibition dates 22 April -  1 May 2015

Opening Night | Thursday 23 April, 6-8pm

Performance| Saturday 2 May, 7.15pm

A special performance by Bon Mott on will be presented in conjunction with SHOWSTOPPERS. 

Matthew Linde

confessions of jealousy (and all the rest)

Matthew Linde

These figures you see, an emotional drawing on the wall. Endless… self-imaging. A self-image is often fucking unrewarding. A picture of, you. Judge him, by what he collects (clothing, hairstyle, pose). Penetrating bedroom decor. Figures drawn on walls and they look staid. Poses are untrustworthy (if emotional). he POSES his, hair. a complete picture, of something more solid. Beautiful pose (if slight). debbie harry, drawn over. I hate ownership (but i’m completely leased). self-image is always untrustworthy.

IMAGES | Matthew Linde, Confessions of Jealousy (and all the rest) BLINDSIDE SHOWSTOPPERS opening performance, 2015.| Images courtesy of the artist. 


I only brought one pair this time, trying to see things through
the lost violet sneaker appears oddly in place in the middle of the train rails though When I was in melbourne, I had this moment where I thought I solved the shoe problem

I found these assics that appeared friendly. well balanced between used and still relatively unharmed by time. they matched my mood. sort of mature looking. not wanting too much. moderately withered. it felt like with this pair I could jump right into a relationship without having to break the odd plain newness of a first encounter.

I had them in a plastic bag. when we came home I noticed I had lost one.

I left that one assics in matthew’s room among matthew’s things. it was nice to be living in that room for a few days. getting to know someone almost requires seeing their home. these fragile transatlantic alliances. based on delicate trust in words and spacing. defined by long stretches of silence. one must be forgiving to trust that silence is not neglectful. one must take the trip, even if its far.

ultimately realizing, that distance can be mastered by emotional closeness. ultimately sitting in another persons bedroom with a fever.

Matthew’s room, where I left that one assics, was precisely the essence of how I started to know him, of how I view his work. a well composed rhizomatic mess, that has its perfect logic only revealed through matthew’s making use of objects and handling them.

if I think of matthew in the morning composing an outfit I see him tossing out materials and pieces. could be a spring cleaning, one every day. what could be mistaken for arbitrariness, or carelessness, is actually filled with a caring touch, almost as if the things he uses, the objects he compiles are felt to have more of their own life, more of their own will than one would want to admit.

shoes all over the floor in matthew’s room. a red sofa in new york city when winter was cold, a day in ber- lin buying flowers, and back to the hot summer of melbourne, with a fever watching matthew trying on a new dress.