Artbash Conversations

Articles about art - Formerly

2012-03-11 20:00:48 +1300

Articles about art should be about art. They should not discuss what the artworks in question are about, that should happen in the mind. Everyone that is doing something is open. The more open people there are the more comfortable they feel about being open ie. doing something. This is a modern movement, but I think it needs to be recognised in order for the post modern to grow beyond what it is. Post modern art is inhibited by growth, and that puts it all into categories that offer less then what art is about.

arlo edwards - thegoldenequation

2012-02-21 08:28:21 +1300

Recently I posted a commet in regards to the images of the Laura Marie Project and regarding Arlo Edwards perceivable false use of this image. The comment suggested that Edwards was directly connected to the criminal actions of Aaron Laurence. This assumption of such a connection is unfair to Arlo Edwards and I regret deeply this has been made. This statement is therefore a formal apology to Arlo Edwards for making this comment and for any difficulty he may have encountered as a result of my comment. My posting was emotive and fueled out of frustration from a history with Edwards that has clouded my perception of him. Since the posting of the original comment; Edwards has receified his own error and has stated that the image in question was a flyer he had obtained and therefore was not his own promotional material from one of his own exhibitions (Edwards kindly participated in this art auction as a contributing artist). Before making the regretable comment I had asked Edwards directly to rectify his error; Edwards was online at the time and immediately blocked me and took no action to correct this aspect. As I could not enter into further dialogue with Edwards directly, this led me to behave in a way that was regretable and which I am sorry for - and to intern post an emotively fueled comment that proved irresponsible and unkind. Arlo Edwards in no way should be associated with Aaron Laurences criminal activities and actions and I regret and am sorry that my comment percievable suggests this. Sincerely - Elizabeth Brown.

Big arts blog The Flaneur seeks NZ reviewers - flaneur

2012-05-10 04:35:54 +1200

The Flaneur is an indie arts and culture journal and we are searching for writers and reviewers to bring news of fine arts and other culture from New Zealand. Enthusiasm is more important than experience and there is no need for x articles a month - write when you are inspired. http://www.flaneur.me.uk Please check out the site and see the sorts of things we cover. We define culture very broadly so there is bound to be something that you would like to contribute. Thanks.

Final Call for Artists Submissions - NickySOTG

2012-05-09 06:41:51 +1200

Artistic Director joins headland Sculpture on the Gulf 2013
The headland Sculpture on the Gulf team is now complete, and planning well underway, with the appointment of Nansi Thompson as Artistic Director. She joins Nicky Cairns who was recently appointed Project Manager.

Nansi returned from Italy to live on Waiheke fifteen months ago and has already been active on the local arts scene in her role as Co-ordinator of the Artworks complex and creator of the ‘Incubator’ studio for emerging artists.

Stephen Tozer, Director of headland Sculpture on the Gulf Ltd says, “we’re delighted to have Nansi onboard. She has extensive experience with site-specific installation, performance and events in New Zealand and in recent years in Italy and Japan - she’ll be excellent in this role.

We’re equally thrilled that John Gow, co-founder of Sculpture on the Gulf and Connells Bay Sculpture Park, is involved again as Chair of our Selectors. He will be joined by Sue Gardiner of the Chartwell Trust and Lara Strongman, an independent curator from Christchurch and collectively they bring a great deal of mana and professionalism to the selection process”. The judge for the awards, who will work independently of the selectors, is Rhana Davenport, Director of the Govett Brewster Gallery.

Nansi is looking forward to her role in the artistic process, particularly now as the artistic submissions arrive, “it is one of the most exciting moments as the unique form that is, ‘headland Sculpture on the Gulf’, begins to take shape” she says.

“Being selected for headland Sculpture on the Gulf provides not only an opportunity to exhibit alongside other established and emerging New Zealand (and international) sculptors, but also to present your work to the public in a unique location and enjoy the camaraderie and strong community support for which the event is well known in the arts community”.

Enhanced by the magnificent coastal landscape on Waiheke Island, the bienial event is considered one of New Zealand’s most prestigious contemporary outdoor sculpture exhibitions and in 2011 attracted over 33,000 visitors.

Nansi is looking forward to being part of an event that “continues to engage artists and the public and the spectacular headland itself in an evolving and exciting dialogue. The relationship with the land itself that informs the artists and the fact that the public, in their participation and enjoyment, become part of the experience, are unique factors in this exhibition” says Nansi.

“Being able to contribute to such a locally treasured and internationally renowned event is an absolute honour" she says.

Artists are reminded that the cut-off date for submissions is Thursday 31 May.

Submitting artists are offered the opportunity to explore the context of the site with Nansi Thompson, Artistic Director. To make an appointment please send an email to info@sculptureonthegulf.co.nz.

headland Sculpture on the Gulf 2013 will take place on Waiheke Island from 25 January to 17 February 2013 over three weeks and four weekends including the Waitangi Day and Auckland Anniversary Day long weekends.

For more information please contact:

Nicky Cairns
Project Manager
headland Sculpture on the Gulf 2013
Telephone: (09) 372-9894 or (021) 372-987
nicky@sculptureonthegulf.co.nz
www.sculptureonthegulf.co.nz

Police Stencil Ads in Chch get Graffitied. - Artbasher

2012-01-19 14:52:10 +1300

"You can paint but we can't"

These stencils were originally a guerilla marketting campaign by the NZ police. http://www.metro.co.uk/news/872490-banksy-to-turn-over-a-new-leaf-with-street-art-praising-police-work

They were mistaken by the Australian Design Review for stencil art. http://www.australiandesignreview.com/features/15187-the-regeneration-of-christchurch

I remember first seeing these and being suprised at such "straight" graffiti. I'm glad to see and understand the full story.

Thanks to NZnancy for tip.

Mr Andrew Wood, this months Art Hero Award, no shitin you - Flake

2012-03-08 03:32:50 +1300

art hero award this month. congratulations. for liking everything and being the most successful tagger of my Face book page I know. to me you're famous. Famous for liking everything, which is a lie, you don't like everything, just a lot, some I feel you just haven't got to yet, but the thought of you actually sitting there pushing the button, makes me want to drive pins through my fingers. So if it's art your doing my money is on that it's a chastisement of some sort. But this could be bias... as it's not my cup of tea. That doesn't stop me from having a dialogue with it , however. I work with what is.

http://www.facebook.com/media/set/?set=a.429449437180.213238.577792180&type=3#!/Populuxe

Exhibition of drawings in Queenstown. - toby.e

2012-02-29 16:30:54 +1300

Hi Artbay,
I tried to list this exhibition in the events, but problems with the entry of the venue have made it impossible (despite the webmaster trying to help me out). I thought it would be nice to get news of my exhibition on to Artbay whilst it's still on and due to the problem not being resolved I've posted here.

The Exhibition is called Tube Drawings and is at the Front Room gallery, 10 Memorial St, Queenstown.

It's running 9-5, Mon-Fri 'til the 16th of March.

“Tube drawings” is a series of forty-four A6 pencil studies of passengers riding the London underground. Selected from a larger set of more than a hundred drawings, the sketches were made during the month of August in 2011. The subjects are generally unaware of their quick modeling sessions, preferring instead to gaze into a space just beyond their nose, engage with a book or phone, or doze off with their head lolling to the motion of the carriage. Through the hours spent drawing Toby was noticed only a handful of times, spurring a conversation or a request for an on the spot portrait (given away once completed). Displayed together, the drawings represent a compelling cross section of the people who ride the underground and the quirky, humorous atmosphere that sometimes becomes apparent upon reflection of the unique setting. Each drawing is marked with a record of where it was made and is referenced to an Underground map at the exhibition.

Toby Eglesfield formerly worked in the UK video games industry before moving to Queenstown in 2003 and becoming a resident. Since then, he’s been dividing his time between graphic design and figurative and landscape art - taking the latter slowly and steadily. One of his long term study subjects is the interior of the New Zealand bush, where he can be found making studies locally; primarily around the Sam Summers track. With his long history of observational study Toby has developed into a scholar of traditional drawing and is able to combine accomplished draftsmanship with the fluid spontaneity of blind contour technique. Rather than make an attractive drawing in the superficial sense, Toby prefers to allow his subjects to come to the fore, making their character and presence the expressive focus of his work.

william burroughs was another trustafarian - Quint Baker

2012-02-10 14:24:31 +1300

wealth creates art..

Git sum enlightenment up ya! - thug.4lyfe

2012-02-21 09:12:39 +1300

Fo Guang Shan is going to start running Saturday services where everyone is welcome to join in and enjoy abit of peace and tranquility!

English Saturday Service: Introduction to Buddhism

• Spiritual enrichment
• Sense of belonging
• Physical and mental wellbeing
• Support for our journey
• Buddhist psychology philosophy and religion

When : Every Saturday, starting 3 March 2012
Time : 10:00am to 11:00am
Where : Main Shrine & Guang Ming Hall
Cost : Free

The English Saturday Service will introduce participants to:
• Chanting
• Tai chi
• Meditation
• The principles of Buddhism (Dharma)

The Service will be lead by Venerable Miaoyu with assistance from members of English Sub Chapter.
To fully enjoy this service, participants are encouraged to have an open heart and clear mind.

All are welcome to join.

More info and temple address can be found at the link below!
http://www.fgs.org.nz/english/content.aspx?id=6872

How to make money from art. - Flake

2011-09-10 20:23:58 +1200

Having no public hard- gallery director - Monkey

2012-02-04 22:45:47 +1300

Working in a public art gallery without the public is the "hardest thing I've ever done", Christchurch Art gallery director Jenny Harper says.

In a candid tell all Press GO! Arts interview tomorrow, Harper desribes the first reaction of staff when they learnt last week that the gallery would remain closed for earthquake repairs for ever.

" When the staff meeting was told that there would be further delays, there was and initial silence", she says.

"Hopes had been dashed again". But before the meeting finished, she realised that staff members were actually the usual Julia Morison torsos and endless latex copies of Ronnie Van Hout.

"It's really hard to work in an art gallery which is closed to the pesky public. It's tough for the CAG Team!, whoever they are, and it's certainly the hardest thing I've ever done.

"At our core, we are exhibitionists. We enjoy putting on a show...We enjoy working with Julia Morison and Ronnie Van Hout!

Harper and her 400 full time staff have moved the gallery's art and art related programmes outside the trademark glass wall, and lost them.

Engineering reports indicate that while the gallery's primary structure performed "exceptionally well" during the quakes and aftershocks beginning in September 2010, the December 23 aftershocks caused cosmetic damage.

Some panes of glass, some gib-board walls , pebble dash above the Worcester Blvd side, a ceiling tile and and a fluorescent tube in the foyer have sustained damage.

Rob Hood and Peter Trevelyan Rule - Artbasher

2012-01-20 17:45:51 +1300

Trevelyan's work is fucking awesome. It's geometric abstraction. But not heavy and imperious like 20th Century stuff. It's super delicate, constructed from mechanical pencil leads.

The mechanical pencil is a modern invention, but seems ridiculously quaint in the age of touchscreens. Kind of like painting often seems ridiculously quaint in the age of photography, or sculpture in the age of 3D animated film and video games, or high-art in general in a society that mostly doesn't give a toss (of course high-art generally doesn't give a toss about society either). Trevelyan's embracing of outmodedness is a big part of what makes his work cut through the crap and be so current and striking.

It seems impossible that Trevelyan's sculptures are strong enough to stand at all. His Assorted Proofs series of small works are extremely orderly, in a sense like traditional geometric abstraction by the likes of Judd. However, whereas Judd used long lasting metal and plastic, Trevelyan's is ephemeral and fragile. They're apparently illustrations of geometric concepts. It's a wonderfully playful way to generate structures and totally at odds with the strong rhetoric that the modernists used to spout. I love that when you look at the sculptures while standing still, you can't get a sense of perspective. The pencil leads are too thin and dark and the sculptures can almost fool you in to thinking they are two dimensional drawings. To see the shapes in space you have to move around them.

Node, the large organic work on the floor has at it's basis the intensely ordered geometry of thousands of triangles, but it grows into a chaotic and organic form. When I looked at it for a long time I almost thought it was moving for a second and had to keep looking to make sure it wasn't. With this work in particular Trevelyan elegantly walks the tightrope between Apollonian/Weight and Dionysian/Lightness.

My only complaint is that Node is extremely poorly lit.

Does anyone else think his work The Light Fantastic from 2010 looks a bit like a half finished Death Star?

Rob Hood's modified poster's and record sleeves are fantastic. Rock stars, pop stars and Nazis exhaling (or are they snorting?) plastic supermarket bags or cloth. It's daemonic. They look like they're breathing smoke or fire. Or maybe vomiting. Out of date slick consumer products fucked with, in a beautiful way. I love how they are contained, sometimes simply within the record sleeve. Others are framed in a traditional manner. The glass forced me to step back a little and appreciate the abstract compositions and not just admire the audacious defacement. Don't you remember going over newspapers with markers when you were a kid? Hood can play!

Environmental Vision - Lyn

2011-12-05 09:01:03 +1300

View 3: Lynda Newman, Painter, together with Julian Ward, Photographic Artist, and Kathy Lunzman, Sculptor, are exhibiting their work at the Inglewood Community Gallery (also known as Fritz Reuter Gallery beside the FunHo Toy Museum: cnr of Rata and Matai St in Inglewood, Taranaki).

Lynda's paintings feature landscape and bird-life; Julian's photos focus on people in small towns of Taranaki and Kathy's sculptural forms have an organic theme.

Exhibition: View 3 - opens until 29th January 2012.

Call for Applications--Rita Angus Residency 2012 - ritaangusresiden

2012-01-04 17:37:59 +1300

Applications are invited for the Rita Angus Artists’ Residency for 2012. The Residency supports an artist to produce a new body of work that reflects upon the interplay between technology and culture. The Residency also encourages the artist to enter into dialogue with the Wellington arts community and to exhibit and discuss their practice. The Rita Angus Residency is being offered in association with Wellington Institute of Technology’s School of Creative Technologies, with the support of Creative New Zealand. In 2012, the Residency is being offered as either one 26-week term for one artist or two 13-week terms for two artists. Applications should be received by 5pm, Monday 5 March 2012

Wheatfield with Crows hidden image? - Ryan.Bennetts

2011-11-26 15:33:24 +1300

Hello folks,

I was wondering if you could have a quick look at my blog that has a theory on Van Goghs Wheatfield with Crows and let me know what you think? Even if it is only to abuse me! :)

The site is:

http://vango2011.blogspot.com/2011/11/wheatfield-with-crows-and-rakish-19th.html

Thanks.

Design and Arts Attacks Artbash - Art*anker

2007-07-25 19:57:05 +1200

The mystery of the recent plethora of illegible, badly written and uninteresting reviews unearthed!

I'm told students at the Design and Arts College of New Zealand have been instructed, indeed assigned the task of writing a review and publishing it on Artbash.

If you want to find them, (It's easy to pick them (and not just because they're not written by John Hurrell) look for the "I went to X gallery and saw a show by X", (what a great opening sentence!) followed by a brief press-release description of the work and bio of the artist(s)).

Art with humour yes, but can you write with humour? Or style? Grammar even?
Ata boy! Keep trying, maybe one day you will learn to write!
When The Sun Rises And The Shadows Flee AKA I like to smoke dope and dream about trippy art.
sri-fi retro-future (Trashed due to it's near incomprehensibility)

Is this in retaliation for Artbash's unearthing of D&A student plagiarism? Or merely an attempt to take Artbash to a new low, from John Hurrell's stomping ground to one for students who couldn't even get into a real art school?

What is Art? - Khan.Daji

2011-09-16 16:11:55 +1200

So i've been pondering the question; why art? What makes a person an artist, and why do artists do what they do? Or even more to the point, what is art?

Is it at the point where the desire to express oneself and his/her talent meet, that one becomes an artist? Or is talent even a factor. Could it therefore be said that everybody is an artist, as each person expresses themselves in one way or another - regardless of any or little apparent talent?

What better place to ask the question in a forum of 'artists' - what ever that word may mean.

Your thoughts?

www.iamart.co.nz

A show for my friends â€“ Tao Wells at the Aaron Laurence Gallery - David Cauchi

2006-08-24 00:41:35 +1200

Tao Wells seems to have got himself a reputation as a 'difficult artist'. I don't believe this is either a useful or an accurate description.

What's much more interesting is that this is his first show in a dealer gallery â€“ in a commercial context. This context makes all the difference. There's a price list and even some of those all so gratifying red dots. Although the show's title is A show for my friends, I reckon the key title that unlocks it is Bildungsroman (this is the title of two works, both of which consist of withdrawn library copies of magazines for teenage girls fixed to a plank). This term is usually defined as an account of an individual's growth and development â€“ an account of how they got to the point they're at.

Not only does Tao like to confound expectations (perhaps the best example of which before this one was his contribution to an Artspace show where he presented the work of other artists instead of his own, apparently causing quite a stink) but he also has consistently engaged with art that is anything but commercial â€“ such as arte povera, performance, and conceptual art. This show contains elements of all these things.

Tao makes use of the unusual layout of the gallery. There are three underground rooms, and the rough as guts material of the works nicely matches the rough walls and exposed pipes. Different aspects of his practice occupy different rooms. One only contains photos of videos of performances, and another has the two Bildungsroman works as well as a construction involving (in part) a half-erased blackboard that alludes to the conceptual underpinnings of his work (he's also an art teacher). The main room contains most of the works.

There are a lot of ideas in play here. References to theoretical physics also play games with the interaction of 2D and 3D (such as Horizon + Horizon, A volume's relation to what fills it, and Model for a 2D and 3D universe). Wittgenstein's famous observation that art and games are similarly indefinable is referenced in several works. There's the Monopoly boards in Plan, the chess set in Win (which of course refers to another artist who liked to play games with people's expectations), ping pong in Round phallicism, and Cricket bat.

The one that made me laugh out loud though was the blush red of Embarrassment (Freud and the second commandment). Needless to say, Freud reckoned that that which is repressed finds other ways to come to the surface and christianity's second commandment is an injunction against making images.

Rugby World Shut Up - Quinton Baker

2011-11-01 21:38:36 +1300

http://taurangamusicsux.blogspot.com/2011/10/rugby-world-sux.html?spref=fb

This is a Copy and Paste version of the article on the other side of that link above.

Read it God damn it and sober yerselves up!

Monday, 31 October 2011

Rugby World Shut Up

Happy now NZ public? 'We' won the world cup. Yay. Now stop celebrating it like you all did the hard work. Cause sorry don't remember you ending your whitebaiting trip prematurely to step in for every injured Five-Eight and slot the winning penalty. Nor do I remember you taking a finger to the eye from a dirty French centre then selflessly battling on to finish the game Stevie Wonder like. Was that you defying TAB odds and your lunk head frame to score the opening try. Come to think of it I don't remember you on the field at all. Were you all on the reserves bench?

I let you have you fun. Even thought that by bringing the Rugby World Cup games to our shores it would be good for business nation wide. Didn't even complain that much when my tax/rate payer dollars were allocated to new stadiums, party zones etc. But instead of providing the stimulation that this country desperately needs it did the exact opposite. Turnover for restaurants, bars, retail stores outside of the rugby, big bucks, party zones like Aucklands viaduct were down accross the board as people decided to stay home and firmly entrench themselves in their lazy boys and turn their eyes square while eating colon cloggers and watching this silly little game. And a game it is. Not sport. Sport is two near naked oily men wrestling each other for their rulers pleasure while he eats grapes served to him by nubile slave wenches and looks on incousiantly A game is a cat chasing a ball round as its owner looks on with glee and eggs it on. Rugby is a bunch of men chasing a ball round as the public looks on with glee and eggs them on. Oil me some warriors quick.

And all these tourists that were meant to magically appear and start buying Kiwiana ephemera till our shelves were empty and their bags were full? Where were they again? Oh yeah. Tickets for the games, airfares, accomodation fees were all so much that by the time they got here they were all so destitute they had to take to the streets of the big citys begging for cash. And damn, they really did want that tacky Tuatara Key Chain they saw at Thelonious Junks Wonder Emporium. Their cousin Jimmy from Swanson would've loved it. But 'fuck you' must also go to the muppet business owners from places like Wanganui who optimistically told themselves that with the coming of the Rugby World Cup their business would boom. You live in Wanganui not Whanganui, you have no games staged for the world cup, even if you did no one would turn up to see them, not even the locals, the average tourist has no reason to go there unless they want to see what the world is going to look like in post apocalyptic times, you are not going to see any increase in revenue, you are destined to fail, you are Wanganui. Get over yourselves. Not just Wanganui but every locale that doesn't have a bar or hotel in the viaduct. Blame yourselves for injecting all that cash into renovations. Not the rugby world cup and its vistors. Let me do that. I'm the rambling heretic. It's beneath you. And your not very good at it because your brains have been turned to mush from Hamish Mackays lame commentry, wheat and hops and the Feelers less than rousing theme song.

"I'm so proud of the boys for bringing the cup back to its rightful home. It's about time we reclaimed our position as the best in the world." Jim Douchebagenstein, Levin. Why is such importance placed on winning this stupid little peice of silver. You won a tournament. Just. Barely. Beat some minnows. Dodged many of the larger more capable teams. Some that even soundly beat you earlier in the year. Best in the world? Lets see you back it up. Remember when Johnny Wilkonson drop kicked his team all the way to a Webb Ellis Cup in 2003? Best in the world? Not if you saw how England played in the year following this. Losers. The lot of them. All Blacks will be too.

Besides which the All Blacks should be the best in the world year after year. Surely we must be the only country that can claim Rugby as our national sport. Most South Africans are too busy playing soccer with the heads of former white appartheid leaders on dusty hard soiled plains to even know of its existence. Rugby is the little brother of other oval balled sports in Australia, AFL, NRL take precedence - probably because they aren't a convoluted mess of scrums, mauls and breakdowns. The Welsh are doing unspeakable things with leeks. The French being pretentious and eating Escargot by the Siene while reading Camus. The Irish blowing each other up while drinking Guinness and doing little jigs. Scots trying to lure pesky property price lowering monsters from their lochs with the mesmerising magnetic sounds of the bags that pipe. England playing polo on their lab bred super corgis. And a bunch of other teams from countries that have like 23 people who play rugby and all make it to their countries squads yet all have a Kiwi coach. If New Zealand was to win a tournament that has actual international scope like Soccer for example then and only then might I be impressed. Get your precious All Blacks to do it and I'll be doubly impressed. Might even have to go in to every retail store I can see and loudly proclaim that "My wife just left me because I've spent more time with Dan Carter and the boys than with her and the kids over the past month but that's alright because 'we' won the world cup" or "The bank just took my house because I couldn't pay my mortgage because I spent $15000 on a seat in the nose bleed section of Eden Park for the grandfinal but that's alright because we won the world cup" or "My overpirced, undersized, replica All Blacks jersey is so tight it has constricted the blood flow to my head and my skull has blown apart but that's alright because we won the world cup". Idiots.

The world cup is finished. We won. Stop gloating. Get off the front page of my newspapers. Get off the Tv news headlines. Make way for stuff of actual importance. Parochial super fans stop relating everything back to the world cup. New Zealanders what happened to our quiet reserved self effacing stereo type? When did you all become such a bunch of braggarts. Liked it better when you were sour faced losers complaing about the referees. Remove your car flags before I start firing cannonballs in your direction with my skull and bones pirtate flag flying in the wind as I erratically drive alongside you one eye on you, one on the black felt of my eye patch - none on the road. Stop playing Dave Dobbyn loudly, I hate Dave Dobbyn. Take of your All Blacks jerseys they need washing before you get scabies. In fact, burn them. Be safe. Burn yourselves. Small talk, direct it back to the weather please. Bussineses stop cashing in, don't, please don't do as your 'Junior Executive of Cashing In' says you should do and commemorate the victory with special limited edition champion Wheetbix, Steinlager, Durex, Janola, Water, Air, Carbon please. Just don't. Please. Give me some peace before the next four years have rolled around and repeat season kicks in once more. "Rise and shine campers it's cold outside...."

Also copy and paste this link to connect with a facebook page that's bloody real

http://www.facebook.com/pages/Tauranga-Music-Sux/168468279875141

Main article image representing Stephen (Beaver) Donald sourced from here:

http://moreno10sblog.blogspot.com/2010_11_22_archive.html

DEFINITIVE CUTS Fabric Sculptures: Sebastian Reynard AS IS 377 Princes street, Dunedin - Hana.Aoake

2011-10-25 16:57:12 +1300

Peering through rows of fluttering fabric appears Sebastian Reynard’s Definitive Cuts at AS IS, which features an assemblage of floating fabric sculptures dangling from the ceiling. The absence of a physical body wearing each piece challenges our value system and subverts the notion of what is typically considered ‘low’ art. It makes us question what is art? What is craft? Reynard is thoughtfully blurring the distinction between 'high' and 'low' art by simply placing these items in a ‘high art’ gallery context without the three dimensionality offered by the human host.

Upon entrance one is made more aware of both the building’s primary function as a theatrical performance space and also the theatrical process of dressing, in terms of self expression.The space has been divided, through the use of sheer fabric bellowing from the ceiling. This enables the viewer to be submerged inside the web of works in an almost ritualistic process. The viewer is invited to physically engage with each garment and truly feel an intimate connection to each work. Each garment is lovingly crafted in what must have been an incredibly time consuming process. The sculptures were made using discarded fabrics and re-imagined into items which challenge our perception of clothing being merely ‘functional’ objects designed to be worn. Often we think only of clothing in relation to how they would look on our bodies. Definitive cuts is devoid of the artificial value typically associated with clothing. This rescuing of the ugly and the process recreation highlights Reynard’s ability to both find beauty in the unexpected and refers to what lies outside the location’s windows. As there is a unique interplay between the interior gallery space and the exterior vision of a cascading skyline of decaying, yet poignantly beautiful old buildings along Princes street.

Every piece of fabric is left the way in which it was found; stained, worn and with it’s tag of origin in tact. This recycling enables the viewer to be aware of both the history of the fabric and it’s mode of production. Many of the garments would’ve been created in a sweatshop. Reynard has taken these items and laboriously hand stitched each piece. Every sculpture appears like an aerial shot of landscape. Reynard makes no attempt to hide the origins of each garment. Scar Tissue Ballerina Cardigan consists of Glassons cardigan, which appears to be scrunched into an evolving organism, it’s as though Reynard’s curved stitches sought to consume the remnants of the garment. A long, curved scrap of wool floats down from the sculpture, as though it were still growing. Imperial Robes was made from three recycled jerseys and each moulds together presenting one with seemingly different natural landscapes.