Motherother Presents Andrea Hasler 

Location: The Auxiliary Project Space, 31 Station Street, Middlesbrough, TS1 1SR

Dates: Fri 26 Sept - Sat 4 Oct (closed Mon 29 Sept & Tue 30 Sept)

Hours: Daily 10am-5pm (Sun 12-4pm)

Access: Step Free

Artists: Andrea Hasler

  • Andrea Hasler presents a hybrid of works: ‘Irreducible Complexity’, ‘Full-fat or Semi-Skinned?’ and ‘Body-Works’, which come together here as a site-specific installation for MAW 2025.

    The installation is designed to provoke an intense visceral reaction. The anatomical sculptural elements (from ‘Irreducible Complexity’) created from wood, polystyrene, wax, metal and resin, suggest the family unit. The figures, swallowed by fleshy mounds, possess agonisingly raw surfaces. Diamante encrusted latex baby-bottle teats and rubber tubing suspended from gold chains (from ‘Full-fat or Semi-Skinned?’ which presents the maternal body as a disposable milk machine) rain down upon the mutated figures. The fleshy meat-like print on the silky car covers (from ‘Body-Works’) which swathe the exhibition space, reflect the sculptural surface and heighten the sense of immersion, confrontation and overwhelm. These car covers, normally utilised for car ‘reveals’ in luxury car show rooms, provide a uterine barrier against the external gallery environment. Hassler references commodification and excess in her vison of the bodily vessel.

    In this context, Hasler’s installation references women’s labour in motherhood, and the mental, physical and societal implications of this state. The influence of politics, desire and consumption on bodily autonomy are explored. Hesler addresses the gore of birth and the transference of bodily ownership, not only from mother to child, but to a society veering dangerously away from reproductive self-determination. Viewers are led to question their personal perceptions of morality, materialism and the grotesque.

  • What is MOTHEROTHER?

    MOTHEROTHER is an inclusive and supportive collective for artists who are also caregivers. The term caregiver applies to the broad spectrum of parents, guardians and carers across our community.

    Who is MOTHEROTHER for?

    MOTHEROTHER is for everyone aspiring to, or currently working within, or associated with the arts.

    Though our focus is upon supporting existing caregivers, at some point in almost everyone’s lives each of us will take on the role of caregiver. That could be as a biological, foster or adoptive parent, or looking after your own parents, a partner, a family member or significant other. Your care journey could start at any time. It may be planned; it may be a complete surprise.

    Wherever you are on your educational, career or life journey, becoming a caregiver will impact you in ways that you can’t imagine. You may also find that the system is rigged against you, and that is why MOTHEROTHER is for you.

about the show.

Andrea Hasler presents a hybrid of works: ‘Irreducible Complexity’, ‘Full-fat or Semi-Skinned?’ and ‘Body-Works’, which come together here as a site-specific installation for MAW 2025.

The installation is designed to provoke an intense visceral reaction. The anatomical sculptural elements (from ‘Irreducible Complexity’) created from wood, polystyrene, wax, metal and resin, suggest the family unit. The figures, swallowed by fleshy mounds, possess agonisingly raw surfaces. Diamante encrusted latex baby-bottle teats and rubber tubing suspended from gold chains (from ‘Full-fat or Semi-Skinned?’ which presents the maternal body as a disposable milk machine) rain down upon the mutated figures. The fleshy meat-like print on the silky car covers (from ‘Body-Works’) which swathe the exhibition space, reflect the sculptural surface and heighten the sense of immersion, confrontation and overwhelm. These car covers, normally utilised for car ‘reveals’ in luxury car show rooms, provide a uterine barrier against the external gallery environment. Hassler references commodification and excess in her vison of the bodily vessel.

In this context, Hasler’s installation references women’s labour in motherhood, and the mental, physical and societal implications of this state. The influence of politics, desire and consumption on bodily autonomy are explored. Hesler addresses the gore of birth and the transference of bodily ownership, not only from mother to child, but to a society veering dangerously away from reproductive self-determination. Viewers are led to question their personal perceptions of morality, materialism and the grotesque.

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