We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. Read more…

Slime and Shine - opening Saturday 24 March, 4-6pm

The Honeymoon Suite
Event organized by The Honeymoon Suite

Get Directions

#var:page_name# cover

Slime and Shine

Hannah Hallam-Eames & Samuel Jackson
Jana Hawkins-Andersen & Marian Tubbs

Opening Saturday 24 March, 4–6pm
Exhibition Saturday 24 March–Saturday 28 April 2017


The Honeymoon Suite is pleased to announce the opening Slime and Shine – an exhibition of two collaborative bodies of work by Hannah Hallam-Eames & Samuel Jackson and Jana Hawkins-Andersen & Marian Tubbs. Slime and Shine will open at The Honeymoon Suite on Saturday 24 March, 4–6pm.


Shine is now a black box, and revealing its workings can—to the extent that it is possible—certainly be important, but it is ultimately more crucial to repurpose and reprogram it.
- "Shine and Schein," E-Flux, #61, January 2015

Slime and Shine proposes speculative material outcomes that seek to open up fields of possibility to re-examine the entangled relationship between individual, technology and ecology. Through two separate but interrelated collaborative bodies of work, which converge and digress in their material explorations, the artists query the techno-capitalist vision of the future with openness to the inherent precarity in material processes.

Hannah Hallam-Eames and Samuel Jacksons’ recent collaborative projects attempt to forge future-orientated encounters between algae, technology and humans. Their large-scale installations explore experimental systems involving sculpture, text, video and living organisms, working to entangle humans and algae into linguistic and material relationships. Their work seeks to read algae outside of the techno-capitalist prerogative of algae as a disavowal of the climate crisis and instead opens up nature to explore the materiality of algae through a vitalist and hermeneutic tradition.

Jana Hawkins-Andersen and Marian Tubbs recent collaborative projects explore the interplay between velocity and intimacy through material investigations. Their assemblage-based installations of hybrid objects and digitally constructed imagery illuminate traces of contamination, decay and care that can occur when objects and images seep into or onto each other. In so doing, their works unravel the contingencies between bodies, materials and space and interrogate our obligation and responsibility towards the complicated substances of techno-culture.


Hannah Hallam-Eames is an artist from Te Whanganui-a-Tara, presently based in Melbourne where she is undertaking her MFA at Monash University, Caulfield. She completed her BFA with Honours from Massey University, Te Whanganui-a-Tara and the University of the West of England in 2014. Recent projects include POSTDIGITAL, NO-END Contemporary Art Space, Johannesburg, South Africa 2018; Brangelina the fruiting body, Floating reverie online residency program with Samuel Jackson, 2017–2018; Blame it on the rain (Film screenings), The Physics Room, Ōtautahi; Ngā Taonga Sound & Vision, Te Whanganui-a-Tara; St Paul St Gallery,Tāmaki; WORM, Rotterdam, curated by JPEG2000 and Fresh and Fruity as part of Till the World Ends, 2017-18; Algae are more dangerous foes of truth than lies, with Samuel Jackson, Firstdraft, Sydney, 2017; Static Culture, Play_station Space, Te Whanganui-a-Tara, 2017; Laminal interfaces, with Matt Ritani, Window Gallery, Auckland University, Tāmaki, 2016; Spilled Brains/Synthetic Circuits, Enjoy Public Art Gallery, Te Whanganui-a-Tara, 2016; i think a lot about how i killed them, RM, Auckland, 2016; As a Lattice, Toi Poneke Gallery, Te Whanganui-a-Tara, 2015; BLAST! Digital Arts Festival, ASIA NOW, Paris and Palermo, Italy in association with MoCA Pavilion, k11 Art Museum Shanghai and arthub, 2015. She has an upcoming project Quite Frankly Conference (with Samuel Jackson) hosted by Symbiotica and MOANA project space, Fremantle Arts Centre, Perth, 2018.

Samuel Jackson is an artist from Taranaki, currently based in Melbourne. He completed Honours in Media Studies at Victoria University, Te Whanganui-a-Tara, 2015. Recent projects include stay_on PDF, 8 Egmont st, Te Whanganui-a-Tara, 2015; Malware/s/lonely, 8 Egmont st, Te Whanganui-a-Tara, 2016; Through various voids in the rocks, Meanwhile Gallery (online hypertext), Te Whanganui-a-Tara, 2017; Big Sacred Technologies, Blue Oyster Project Space, Ōtepoti, 2017; Algae are more dangerous foes of truth than lies (with Hannah Hallam-Eames), Firstdraft, Sydney, 2017; Brangelina; the fruiting body, Floating Reverie Digital Art Residency, Johannesburg, South Africa, 2017; PostDigital, Johannesburg, South Africa, Kalashnikov Gallery , 2017; Recent published writing includes: “To conspire is to symbolise your secrets, Part 1”. HAMSTER Magazine, The Physics Room- Contemporary Art Space, Ōtautahi, 2018; “Response to Laminal Interfaces”, Window Gallery, Auckland University,Tāmaki 2016; “Immanent Feedback, Fire and Loss”, both RM, Tāmaki and Enjoy Public Art Gallery, Te Whanganui-a-Tara, 2016; “Open Source, Social Activism and “Necessary Trade-offs” in the Digital Enclosure: A Case Study of Platform Co-operative, loomio. org,” Triple C Journal, London,2016; “Fitbits,” Anxiety Control, Sado Journal, Te Whanganui-a-Tara, 2017; Prophecy; a reflection on the oracle,” Blue Oyster Project Space, (pub) Ōtepoti, 2017. He has an upcoming project Quite Frankly Conference (with Hannah Hallam-Eames) hosted by Symbiotica and MOANA project space, Fremantle Arts Centre, Perth, 2018.

Jana Hawkins-Andersen is artist based in Sydney. She is currently an MFA Candidate and NSW Art and Design and a co-director at Firstdraft, Sydney. Recent projects include ‘Inside’, curated by Rafaela Pandolfini and Stella Rosa McDonald, held at Paddington Town Hall, Sydney, 2017; ‘Turbo’, a collaboration with Marian Tubbs, presented at the artists studio, 66 Oxford St, Darlinghurst, 2017; SafARI, Sydney, 2016; ‘San Remo’ Ying Colloseum, Berlin, 2016; ‘Witness’ Minerva, Sydney 2015; ‘Honky Tonk Lagoon’, Minerva Suite, Spring 1883, the Establishment, Sydney 2015, 'SPVII' Turner Gallery, Tokyo 2015; ‘Pretender’, Firstdraft, Sydney, 2015.

Marian Tubbs’ completed a PhD at UNSW Art & Design in 2015, and is a sessional academic at, Art & Design UNSW, and Photomedia Lecturer at National Art School, Sydney. Tubbs’ upcoming and recent exhibitions include STATION, Sydney, Sydney, 2018; Another Dimension, McClelland Sculpture Gallery, Mornington, 2018; In Practice, Sculpture Center, NY, 2017; Zona Maco Sur, ltd Los Angeles, Mexico City, 2017; Contemporary Monsters, Minerva, Sydney, 2016; Abstract Sex, Bard CCS, New York, 2016; Pleasure and Reality, National Gallery of Victoria, 2015-2016; Contemporary Print Culture, National Gallery of Australia, 2015; riven, Station, Melbourne, 2015; Relational Changes, Christine König Galerie, Vienna, 2015; NADA, New York, Minerva, 2015; Hairy Plotter and the Polygrapher's Tones, Toves, Copenhagen, 2015; Primavera 2014: Young Australian Artists, MCA, Sydney, 2014; Quake 2, Arcadia Missa, London, 2014; and Glean, Minerva, Sydney, 2014. She has recently curated shows including Care (with Dana Kopel) at Interstate Projects, NY and Witness at Minerva, Sydney. In 2015, Tubbs was the inaugural recipient of the MCA's Online Commission. Tubbs’ work is held at the National Gallery of Australia, National Gallery of Victoria, Museum of Contemporary Art and international institutional collections. She has published and presented art and philosophy research at international and local conferences. In 2014, she contributed as an author to the philosophy volume "Intensities & Lines of Flight", published by Rowman & Littlefield International.


Image courtesy of Marian Tubbs.