“We’re in an era where everyone thinks they’re an expert in visual language and actually they’re not. For people who invest our life into the exploration of visual language it’s like listening to a three-year-old go ‘gagagaga’.
I’m violently, brutally against this ridiculous, nauseating, zombie-aesthetic, rich-kid post-internet-irony screensaver bad art that’s around at the moment: it’s people who are in privileged positions deciding that they want to be artists rather than deciding that they want to make art. Instagram is totally embroiled with that culture and I can’t wait until it’s over.”
Full article here
Clunie Reid private view at the Contemporary Art Society. Video work – ‘The Given That Keeps on Givin” and stills culled from the video (printed onto perspex then silver inked.) feature in the exhibition.
‘Found and staged images are subject to intense re-workings through an arbitrary combination of digital manipulation, collage and a diversity of printing processes’
I’ll write up my recent studio work soon, but Clunie Reid’s video collage work chimes with my recent work manipulating and collaging found imagery, then applying paint to further disrupt the image and it’s meaning.
I showed three works work as part of the group show ‘NeoCraft‘ at the Arebyte gallery in Hackney Wick. ‘Premonition’ – a redacted comic book, ‘Gucci Women’, a video loop, and ‘My Dreams Aren’t Always So Sweet’ – a collage of various comic book panels, rearranged and then spray painted, a disrupted narrative.
The last work is a real progression for me, both in terms of the way I construct the image, but also in the finish I’m achieving (by changing printing technique as well as the way I apply the paint.
I’ll write up a separate post of the whole ‘matt linear vs gloss redacted and disrupted narrative drama’ that’s been going on for the last few months.