'Disseminating Information That Was Hard to Understand' - an evening of performance, curated by Katie Paine at Kings ARI (September 23, 2019). Poster designs by Katie Paine.
Featuring work by Nick Modrzewski, Manisha Anjali, Daniel Jenatsch, Katie Paine and Diego Ramirez. 
​A recording of 'The Conversation.' (Josephine Mead, 2019) was played. 
CLICK HERE TO LISTEN TO The Conversation.
Exchange, curated by Zachary Harold, Stacks Projects, Potts Point, Sydney, NSW, November, 2019.

Featured artists: Tania Rolland, Matthew Dettmer & Lisa Sharp.

Exchange examines modes of presentation, with a focus on the nuanced relationships that emerge between objects through proximity and imagery. Each work has its own voice and presence whilst resonating collectively through the different iterations of texture and surface.
c3 contemporary art space 'The Utopian Object' Exhibition, July 2019.

Work exhibited: 'The oblong, sweet fruit of a tropical tree: an allegory.', 2018, Josephine Mead, digital inkjet print on 310gsm Ilford Fibre Gloss paper, 40 x 26cm, ed. 1/3.

"This photograph was taken on a rooftop in Mexico, where fruit became a visual metaphor for ideas of fertility, health, growth and the potential for decomposition and collapse. The work considers a utopian ideal of the body as a well-functioning entity (or object), and uses the mango as a symbolic and emotional allegory for this. The mango simultaneously becomes a symbol for hope and a reminder of the potential for decay."
'Acts of Reversal: Some Abstraction from China, New Zealand & Australia', curated by Craig Easton, Five Walls Gallery, Footscray, July, 2019.

Works pictured:
'My qualities of tenderness', 2018, Josephine Mead, digital inkjet print created from scanned film photograph on 310 gsm Ilford Dibre Gloss paper in custom-made tasmanian oak frame, 29.5 x 43.2cm. Ed. 1/3 (+AP)

'I am bounded by the curve, entirely and in parts', 2018, Josephine Mead, digital inkjet print created from scanned film photograph on 310 gsm Ilford Dibre Gloss paper in custom-made tasmanian oak frame, 29.5 x 43.2cm. Ed. 1/3 (+AP)

'The Marking.', 2018, Josephine Mead, digital inkjet print created from scanned film photograph on 310 gsm Ilford Dibre Gloss paper in custom-made tasmanian oak frame, 29.5 x 43.2cm. Ed. 1/3 (+AP)

'Knowledge of my language is still far from complete', 2018, Josephine Mead, digital inkjet print created from scanned film photograph on 310 gsm Ilford Dibre Gloss paper in custom-made tasmanian oak frame, 29.5 x 43.2cm. Ed. 1/3 (+AP)


​Bus Projects 7th Annual Edition Exhibition, Bus Projects, Collingwood, July 2019.

Work pictured on left: 'Sun mesh judgment' by Ry Haskings.
Work pictured on right: 'Act. A circular lesson in statuary care.' 2017, Josephine Mead, achival digital inkjet print created from scanned film photographs, ed. 1/3 (+AP). 

'Act. A circular lesson in statuary care.' presents a reconfiguring of acts of maternal care, present through the artist's female familial line. Her mother's hands hold her grandmother's hand. These hands meet a sculptural supportive arc, carved from marble and holding an open vessel. Part of a cycle of care has been produced—operating outside of time's mortality and a linear structuring of motherhood. Through the image, the artist considers how she is capable of giving and receiving support.


​CCP Ilford Salon 2019 Exhibition at the Centre for Contemporary Photography, Collingwood, Melbourne, November 2019.

Work exhibited: 'Ode to Menophila #2 / #2 Menophila için' 2019, Josephine Mead, digital inkjet print on 315gsm Hahnemüle Fine Art Baryta paper in custom-made frame, 27 x 45 cm, Edition 1/3 + AP.

This work was awarded The Australian Centre for Photography Most Critically Engaged Work Prize.


'Love Letters to Feminism', curated by Dr Margaret Mayhew and Dr Nilmini Fernando, Trocadero Art Space, Melbourne, February 2019.

Work exhibited: a collection of poems produced throughout 2018 - 2019.