Clunie Reid
24 Apr - 30 May 2015
© Clunie Reid
She’s The Dead Cat’s Bounce (detail), 2015
laminated photographs and mixed media
21 x 30.15 each
16 pieces total
She’s The Dead Cat’s Bounce (detail), 2015
laminated photographs and mixed media
21 x 30.15 each
16 pieces total
CLUNIE REID
Bodies Turn to Ash
24 April – 30 May 2015
MOT International Brussels is pleased to present Clunie Reid’s second solo show in its Brussels gallery.
(She’s the dead cat’s bounce)
She’s the cat’s got the cream,
She’s the cream’s got the whiskers.)
In this new body of work, Bodies Turn To Ash, Reid has developed her interest in the relationship between moving and still images with a large selection of digital montages made in video editing software.
(I am silver and exact,
I take no precautions,
Whatever I see I reproduce.)
Output as photographic prints and laminated they are arranged in columns throughout the space.
(The image is in motion,It moves and it moves.)
The work explores the physicality and substance of bodies within the virtual and digital space of the image,
(Flesh may not be preferable to the real thing.)
And is full of ideas about autonomous part objects,
(The body that smokes you,)
inversions,
(The skin that looks at you,)
questions,
(Can a death be justified?)
and memory,
(I think I gave you a tenner but I can’t remember.)
And in order not to disappoint, the usual expletives,
( )
I am thin,
I am porous,
Whatever I see passes right through me.
(Encore, encore, mème, meme, same again, encore)
Bodies Turn to Ash
24 April – 30 May 2015
MOT International Brussels is pleased to present Clunie Reid’s second solo show in its Brussels gallery.
(She’s the dead cat’s bounce)
She’s the cat’s got the cream,
She’s the cream’s got the whiskers.)
In this new body of work, Bodies Turn To Ash, Reid has developed her interest in the relationship between moving and still images with a large selection of digital montages made in video editing software.
(I am silver and exact,
I take no precautions,
Whatever I see I reproduce.)
Output as photographic prints and laminated they are arranged in columns throughout the space.
(The image is in motion,It moves and it moves.)
The work explores the physicality and substance of bodies within the virtual and digital space of the image,
(Flesh may not be preferable to the real thing.)
And is full of ideas about autonomous part objects,
(The body that smokes you,)
inversions,
(The skin that looks at you,)
questions,
(Can a death be justified?)
and memory,
(I think I gave you a tenner but I can’t remember.)
And in order not to disappoint, the usual expletives,
( )
I am thin,
I am porous,
Whatever I see passes right through me.
(Encore, encore, mème, meme, same again, encore)