• But Now!

    Kent Buchanan, 2013
    Curator, Western Plains Cultural Centre

    Mathieu Gallois’ project Wellington asks us to re-examine contact between the European colonists and the Indigenous peoples of Australia in the early 1800s. Wellington is a regional New South Wales town, once the furthest point of the burgeoning colony in 1817.

    Read on

  • Where the heart is

    Jo Walker, 2010
    frankie magazine #34, March 2010: p.50

    When most people see a "For Sale" sign on a house they think of mortgages, floor space...But two years ago Mat[t] Gallois, Caroline Comino and Vesna Trobec saw something else. They saw a pile of money just waiting to be turned into shelter for people in the developing world. One house that could become 1000 homes...

    Read on

  • Monument to Memory: Woomera in Australian contemporary art

    Veronica Tello, 2008
    Art Monthly Australia, Issue 208

    ‘Welcome to Australia.’ There is a lack of warmth in your voice when you say it; in fact, you don't really mean it. What you mean to say is: ‘What the hell are you doing here?’

    Read on

  • Wrapped in Rhetoric: Musings on ‘politics’

    Anthony Gardner, 2006
    Broadsheet, Volume 35. No 3

    It does not seem so long ago that one of Australia’s best young critics, David Teh, appeared to hit the nail on the head when he claimed that '[c]ulture and politics are very carefully kept apart in this country, especially at the public and institutional level’.

    Read on

  • Waking the Neighbours: The Art of Mathieu Gallois

    Jeff Gibson, 2004
    Monument Journal, Issue 60

    Though he may call Australia home, artist and aspiring architect, Mathieu Gallois, is an international citizen. The son of an itinerant French banker who worked for a large multinational corporation, he has lived for more than a year at a time in nine cities, spanning six countries and four continents.

    Read on

  • Homefront: The house in new Australian sculpture

    Maria Bilske, 2003
    COFA website

    In 1998, Sydney artist Mathieu Gallois installed a polystyrene facade of a house on an empty lot in a new suburban housing sub-development. Frontier (1998) was a painstakingly exact recreation of a kit-home facade; the proportions of the house were reproduced exactly - down to every roof tile.

    Read on

  • Virtually Yours, The Art of Mathieu Gallois

    Anthony Gardner, 2002
    Catalogue essay

    What does it mean to live in a virtual world and a virtual age? Does it mean to exist in a plane reducible to VR, ambient digital television and the like - where everything is information, movements can be algorhythmically encoded and people are merely statistics of use?

    Read on

  • Flesh

    Maria Bilske, 2001
    LIKE Arts Magazine Issue 15, C-International Contemporary Art Magazine, Canada

    Hollywood has caused us to think of mirages as hallucinations. Their appearance in films signals that an actor, overcome by desert heat, has lost touch with reality, or at least the reality of the film. In actuality, mirages are not formed by the imagination, but are a manipulation of the truth.

    Read on

  • Oasis Onanisme

    Stephen Zagala (O'Connell), 2001
    'Flesh', Experimental Art Foundation Publication

    Because blue is the complementary colour of flesh tone (a principle that makes it the favoured background hue in Chroma Key special effects), Gallois's mise en scene floats in a space that seems ambivalent to human life…

    Read on

  • Cast Away

    Christopher Chapman, 2001
    Director's Notes, Experimental Art Foundation Yearbook

    Mathieu Gallois's ambitious installation offered an enigmatic and perceptually compelling experience. The work was a life size 'film set' depicting a desert oasis (with plushly-decorated tent, palm trees and sand). The scene was placed on a large studio set-like platform with a curved back painted in Chroma Key blue.

    Read on

  • Placelessness

    Ben Curnow, 2000
    Catalogue essay Flight 953B

    The transferral of the seating plan aboard a Boeing 747 passenger jet to the flat plane of the gallery wall, in Flight 934-B, is disarmingly literal. Close to four hundred separate photographs – individual portraits of the passengers on a transcontinental flight - make up a composite image, which is an abstraction of the aeroplane.

    Read on

  • Aircraft Body / Social Body

    Blair French, 2000
    Catalogue essay Flight 934B

    Both aircraft and airport as quintessential mainframe processors of societal flows have in recent years become ubiquitous subjects of (and sites for) contemporary art. But rarely does the ‘passenger’ feature as either individuated subject or class of social organisation as here in Matt Gallois’s Flight 934-B. Why so?

    Read on

  • Frontier (Polystyrene house)

    Bruce James, 1998
    in 'Every dream home, an artwork'
    Spectrum Arts, Sydney Morning Herald

    Though I saw his homage to Home Beautiful in its wrecked condition, it moved and challenged me greatly. What became apparent, seeing Frontier in its homely context, was its spiritual aspect.

    Read on

  • In every dream home, an artwork

    Bruce James, 1998
    Spectrum Arts, Sydney Morning Herald

    Though I saw his homage to Home Beautiful in its wrecked condition, it moved and challenged me greatly. What became apparent, seeing Frontier in its homey context, was its spiritual aspect....[i]t wasn’t a dream home, but it boasted the qualities of a dream. It was memory re-imagined into substance as real estate.

    Read on