A few months ago I sprained my ankle. I kept checking it, to see how it was swelling and discolouring. As the day wore on, I saw it grow to the size of a separate appendage, bulging out from  the normal line of my ankle. The flesh became tighter, like a sausage about to burst, and as time passed the colour changed to a mottled darker pink, which then slowly flushed out a diseased looking yellow blush.

That day, I went to see my sister and her kids. They were bored and I said, “I have something to show you,” and peeled away my sock, not really expecting much, but giving it a try. My 3 year old niece, who really loves pink, peered at my sausage ankle and said, “I like it like that.” She seemed interested in the way my ankle had morphed into a recognizable but exaggerated version of its natural state. Both she and her brother kept circling around my ankle, wanting me to show it to them again and again. In its hyper state, it seemed to become bigger than life, magnetic.

In The Mechanic, at Neon Parc, Matt Hinkley was showing Untitled, a cast sculptural form. As a hanging sculpture closely attached to the wall, its bulbous expanded shape drew me in. The white surface blushed with the occasional discolouration, not of a bruise, but a topological flushing out. I kept peering closely, looking in and around it, drawn to the awkward curves and bumps. As I peered in, the surface breaks appeared low like a goose-bump, but possibly so small I downsized the scale to a freckle – so small that your fingertips might not be able to discern the raising in the flesh, so you would have to use the back of your hand to run over it for sensation, and pick up the way these indentations deckled the surface.

I feel like I sprained my ankle because I was flat-footed. My ankle didn’t hold me up: it collapsed and hugged the ground.

Maybe a collapsing ankle has greater and closer contact to another surface, and so has a friendlier relationship to its environment, like Matt Hinkley’s work. And I like it like that.

The Mechanic, Neon Parc, Melbourne, 29 April 2015 – 30 May 2015.

“Exhibitions are texts that make their private intentions public.”

This quote is loosely paraphrased from Paul O’Neill, the English curator-artist-theorist. I won’t pretend I’m up on his work because I’m not, at least not to any great extent.

But this idea caught me. I now realise why: it’s that word, private.

The idea that an exhibition, as opposed to an artwork or practice, might have ‘private’ intentions is not something we usually think about. How we might articulate this without falling back on didacticism (as in, ‘this is what the exhibition is about’) is surely a key question.

It’s an open one, as is this, which surely follows: How is it that an exhibition might constitute something other than an idea?

That word, ‘private’, also makes sense here in another way, now I think about it.

Small works are more intimate. When I curated this exhibition, ‘A Short Line Between Three Points’, I’d wanted for some time to do something that focused solely on small objects.

There were certain artists I was interested in, of course, and practices that traced certain lines of thought or, in the instance of Aubrey Tigan’s Honest Man Rigi, patterns of exchange.

But if I’m honest about it, it came down to intimacy: what you can hold in your hand, or thereabouts.

Small works draw you in; they limit the surrounding space. In this, you become enclosed in a fashion totally at odds with the expansiveness of large-scale practices. The bodily relation is different. It’s a very specific feeling, a kind of intensity that feels totally contingent upon size.

Process is part of this too. The three artists here – Karl Weibke and Matt Hinkley, alongside Tigan – enact processes that are intensely theirs; as different from (and similar to) each other as they are from others. This too draws you in.

We can also point to more pragmatic things when we talk about making exhibitions: that curators are bound to certain administrative, financial, and logistical realities, and that these also shape what it is they do.

It’s worth mentioning, in closing, that such parameters are almost endlessly variable. This is why there is never only one version of an exhibition, just as there isn’t a definitive edit of a text.

In this, an exhibition comes down to what’s possible in the moment. Or in this case, what you can fit in carry-on.

A short line between three points, (Matt Hinkley, Aubrey Tigan, Karl Weibke), Laurel Doody, Los Angeles, April 25 – May 21, 2015.

Exhibition text: A short line between three points.

NOTE: I am indebted, of course, to the brilliant and indefatigable Fiona Connor. Laurel Doody is her (ongoing) brainchild: she invited me to take part in the program, provided the chairs and made the space beautiful, among many other things. Thanks also to Emily Anne Kuriyama, who wrote a closing text for the exhibition and to whose phrasing I owe something, particularly this line: ‘Each artwork is relatively small — no bigger than the sum of my two hands, palms up, held side-by-side’