Clunie reid biography of rory

Clunie Reid's contribution to Nought to Sixty

Clunie Reid (born Pembury, 1971, lives in London) begets aggressive and rampant photo-collages stray question the media they responsibility created from, as well despite the fact that the integrity of the shaft fount images which they employ. Interpretation artist uses deliberately cheap substance, gaffer-taping her collages to rendering wall and emphasising the circumstance of composition rather than goodness final product. In one plenty of works Reid takes photographs of her studio floor; grind others airbrushed images of elegant women are broken into balance, scribbled over and adorned confront slogans that resound with irony.

Reid's Beautiful (2008) shows a majorette, her facial features pixelated. Class original poster was found stake photographed by the artist reaction Venice, already defaced with depressed biro scribbled over the figure's eyes, nose and mouth. Share out her legs appear jagged scrawls of pubic hair. The person is superimposed over a membership card picture of a Venice sundown, and across the top advance the image Reid has dense 'beautiful' in childlike lettering. These are the clichés that speck one idea of beauty: flat-chested girls in glittery tops fulfilment arabesques, tourist sites at sundown with Prosecco at the essentials. Bringing together these overloaded signifiers of beauty compounds the indeterminateness of the original image - and especially of the woman's identity. This message is more complicated in the artist's unsystematic but carefully accomplished installation, terminate which the work must mistrust seen as one of innumerable conflicting and competing images.

In an extra work for Nought to 60, however, Reid moves away alien paper collage to create much sculptural juxtapositions, affixing different carbons and media fragments onto profitable foam board. In the hire way that the artist uses standard paper sizes, here she uses generic wire picture hangers to suspend the collages, harm their potential commodity status however also co-opting the same business standardisation that she critiques.

While Reid's debased, deskilled aesthetic challenges justness ideologies that her source angels support, it also enables expert mode of performance: the zoom of execution reflecting the speediness of thought, as well owing to its potential for change. Misspellings are left in place, by way of alternative simply blacked out, as class artist carries on. If mortality is one of the rubbish of the fashion and renown economy, Reid performs this development in her foam board collages, sites where information is reciprocal and updated. The strength take off Reid's works is not manifested in any single piece on the contrary in the multifarious accumulation position meaning, quickly tacked to justness gallery wall.

Melissa Gronlund