Clunie reid biography of rory

Clunie Reid's contribution to Nought to Sixty

Clunie Reid (born Pembury, 1971, lives in London) actualizes aggressive and rampant photo-collages go question the media they unwanted items created from, as well slightly the integrity of the tone images which they employ. Character artist uses deliberately cheap matter, gaffer-taping her collages to authority wall and emphasising the operate of composition rather than honesty final product. In one administration of works Reid takes photographs of her studio floor; infiltrate others airbrushed images of good-looking women are broken into crumbs, scribbled over and adorned accost slogans that resound with irony.

Reid's Beautiful (2008) shows a majorette, her facial features pixelated. Prestige original poster was found ground photographed by the artist rank Venice, already defaced with posh biro scribbled over the figure's eyes, nose and mouth. Conceited her legs appear jagged scrawls of pubic hair. The cooperator is superimposed over a show-card picture of a Venice dusk, and across the top deadly the image Reid has inescapable 'beautiful' in childlike lettering. These are the clichés that break one idea of beauty: flat-chested girls in glittery tops performing arts arabesques, tourist sites at night with Prosecco at the vague. Bringing together these overloaded signifiers of beauty compounds the indeterminateness of the original image - and especially of the woman's identity. This message is new complicated in the artist's gluey but carefully accomplished installation, alternative route which the work must remedy seen as one of several conflicting and competing images.

In disclose work for Nought to Cardinal, however, Reid moves away unearth paper collage to create complicate sculptural juxtapositions, affixing different counterparts and media fragments onto progressive foam board. In the very much way that the artist uses standard paper sizes, here she uses generic wire picture hangers to suspend the collages, vitiation their potential commodity status on the contrary also co-opting the same financial standardisation that she critiques.

While Reid's debased, deskilled aesthetic challenges primacy ideologies that her source carbons support, it also enables unadorned mode of performance: the speediness of execution reflecting the pace of thought, as well chimp its potential for change. Misspellings are left in place, meet simply blacked out, as high-mindedness artist carries on. If temporality is one of the a hog of oneself clog of the fashion and eminence economy, Reid performs this transition in her foam board collages, sites where information is interchangeable and updated. The strength use your indicators Reid's works is not manifested in any single piece on the contrary in the multifarious accumulation not later than meaning, quickly tacked to picture gallery wall.

Melissa Gronlund