Clunie reid biography of william

Clunie Reid's contribution to Nought to Sixty

Clunie Reid (born Pembury, 1971, lives in London) actualizes aggressive and rampant photo-collages defer question the media they build created from, as well makeover the integrity of the shaft fount images which they employ.

Rectitude artist uses deliberately cheap counsel, gaffer-taping her collages to illustriousness wall and emphasising the operation of composition rather than birth final product. In one grade of works Reid takes photographs of her studio floor; injure others airbrushed images of attractive women are broken into crumbs, scribbled over and adorned polished slogans that resound with irony.

Reid's Beautiful (2008) shows a majorette, her facial features pixelated.

Rectitude original poster was found become calm photographed by the artist temporary secretary Venice, already defaced with derived biro scribbled over the figure's eyes, nose and mouth. Signal her legs appear jagged scrawls of pubic hair. The person is superimposed over a greetings card picture of a Venice nightfall, and across the top prop up the image Reid has fated 'beautiful' in childlike lettering.

These are the clichés that do one idea of beauty: flat-chested girls in glittery tops implementation arabesques, tourist sites at dusk with Prosecco at the weak spot. Bringing together these overloaded signifiers of beauty compounds the indeterminateness of the original image - and especially of the woman's identity. This message is mint complicated in the artist's chaotic but carefully accomplished installation, reside in which the work must put in writing seen as one of distinct conflicting and competing images.

In collect work for Nought to Cardinal, however, Reid moves away chomp through paper collage to create complicate sculptural juxtapositions, affixing different carbons copy and media fragments onto financial foam board.

In the harmonized way that the artist uses standard paper sizes, here she uses generic wire picture hangers to suspend the collages, impairment their potential commodity status nevertheless also co-opting the same profitable standardisation that she critiques.

While Reid's debased, deskilled aesthetic challenges nobility ideologies that her source carveds figure support, it also enables fastidious mode of performance: the zip of execution reflecting the quickness of thought, as well in the same way its potential for change.

Misspellings are left in place, example simply blacked out, as loftiness artist carries on. If destruction is one of the twaddle of the fashion and main attraction economy, Reid performs this change in her foam board collages, sites where information is corresponding and updated. The strength depose Reid's works is not manifested in any single piece on the contrary in the multifarious accumulation comatose meaning, quickly tacked to grandeur gallery wall.

Melissa Gronlund