Jeremy Bakker’s projects involve intricate spatial interventions and delicate sculptures that point toward a post-minimalist humanism. His works are, in many instances, monotonal and discreet responses to spatial considerations yet executed with a degree of compassion and personal involvement that heightens the material and emotional tactility.

Bakker’s recent works include Collected Ends: A Brief History of Time, a work which consisted of all of the full stops printed within an edition of Stephen Hawking’s seminal book being cut out and placed within a small, sealed glass vial. Resonate, exhibited at West Space in 2009, involved the elaborate construction of an oval room. Literally thousands of paper cones were inserted into the interior wall, which functioned as both the amplifiers of shadows and the subtle magnifiers of the inserted images, being hundreds of belly buttons sourced from illustrated books and magazines. When viewed from outside, and not coincidentally, the structure created a light constellation that seemed to beckon one inside the space as if to enter a disco ball. These projects demonstrate some of the ongoing concepts that permeate Bakker’s practice: light and lightness.

What makes Bakker’s work so alluring is the absolute determination toward a seemingly futile objective. His processes may be painstaking but the resultant works are more poetic than laborious, with their elegant presentation belying the almost obsessive compulsive production. It is a temporal comprehension that the artist is exploring, in terms of how the works are created, their points of reference, and in turn, what they demand of the viewer: the necessity to slow down.

Mark Feary, Undiscovered, Australian Art Collector, Issue 52, April-June, 2010