Daragh Reeves
24 May - 28 Jun 2008
Daragh Reeves
Jeans & T-Shirts ‘The way something looks is more truthful than what it means’
Daragh Reeves (1974, Leeds) uses film as his main reference in which cinematic procedures of storytelling and duration or time plays an important role. Every drawing marks a moment in time and can be seen as a snapshot. Reeves construct and deconstruct these snapshots with tape, paint, coins and text. He creates collages with different media that reminds us of film titles and scenarios, like ‘Accatone’. The figures as well as the coins in this drawing can be seen as a reference or snapshot from the film of Pasolini.
The gravitational force in the work of Daragh Reeves seems to be his preoccupation with the ambivalent/uncertain status of the image. The images Reeves composes or creates -whether they are drawings, sketches, slides, films or videos– do not reveal their source nor their destination. They seem to deliberately hesitate between being visual renderings of ideas, semi-functional entities, film quotations or representations of idiosyncratic thoughts. Reeves moreover has a predilection for neologisms and uses language as a flexible tool to conjure up a cast of fictional figures and fragment stories, partly based on the existence and achievements of film directors, movie stars and friends. (Quote Ann Demeester)
Daragh Reeves (1974, Leeds) lives and works in Amsterdam and Berlin. His artistic practice has gained an outstanding international recognition in the past years. Since completing his graduate studies in the studio program on de Ateliers in Amsterdam, Reeves had presentations at The Jam Factory, London (2001), Albatross Space, Tokyo, Parkhaus Treptow, Berlin (2002), Visual Arts Gallery, New York (2004), Liste Young Art Fair, Basel, W139, Amsterdam (2005), The Jamaica Center for Arts and Learning, New York, Drawing Typologies, Stedelijk Museum, Amsterdam, Oporto, Lisbon (2007).
Jeans & T-Shirts ‘The way something looks is more truthful than what it means’
Daragh Reeves (1974, Leeds) uses film as his main reference in which cinematic procedures of storytelling and duration or time plays an important role. Every drawing marks a moment in time and can be seen as a snapshot. Reeves construct and deconstruct these snapshots with tape, paint, coins and text. He creates collages with different media that reminds us of film titles and scenarios, like ‘Accatone’. The figures as well as the coins in this drawing can be seen as a reference or snapshot from the film of Pasolini.
The gravitational force in the work of Daragh Reeves seems to be his preoccupation with the ambivalent/uncertain status of the image. The images Reeves composes or creates -whether they are drawings, sketches, slides, films or videos– do not reveal their source nor their destination. They seem to deliberately hesitate between being visual renderings of ideas, semi-functional entities, film quotations or representations of idiosyncratic thoughts. Reeves moreover has a predilection for neologisms and uses language as a flexible tool to conjure up a cast of fictional figures and fragment stories, partly based on the existence and achievements of film directors, movie stars and friends. (Quote Ann Demeester)
Daragh Reeves (1974, Leeds) lives and works in Amsterdam and Berlin. His artistic practice has gained an outstanding international recognition in the past years. Since completing his graduate studies in the studio program on de Ateliers in Amsterdam, Reeves had presentations at The Jam Factory, London (2001), Albatross Space, Tokyo, Parkhaus Treptow, Berlin (2002), Visual Arts Gallery, New York (2004), Liste Young Art Fair, Basel, W139, Amsterdam (2005), The Jamaica Center for Arts and Learning, New York, Drawing Typologies, Stedelijk Museum, Amsterdam, Oporto, Lisbon (2007).