•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Clunie Reid EXHIBITED AT THE SAATCHI GALLERY

I Need You To Behave
Clunie Reid
I Need You To Behave

2007

Marker pen and stickers on c-type print

34.7 x 29 cm
I Need You To Behave shows the Oval Office inset with a news clipping of guide dogs trained to operate ATMs. Adorned with a sticker and marker pen drawing, Reid’s photo-collage dissembles notions of power and corruption to ridiculously abject proportions. “The text is like a psychotic voice addressing the image,” says Reid. “There’s an imperative in the way that the text works in relation to the image. The drawing is a continuity of the photograph. It’s all organised quite formally and done very quickly. There’s not a lot of time spent considering, and I do more than I use, make and edit later. Each work is developed from a bank of association. It’s informed, but the connections come from the habit of making. Most of my work deals with the idea of absurdity – things like ‘Homer’s finger’s too fat’, cultural things that enter parlance, things that get picked up amongst friends: they’re like symptoms or a currency. This ties in with physical awkwardness; it’s related to our physical relation to things, like making art.”
Take No Photographs, Leave Only Ripples

Take No Photographs, Leave Only Ripples

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Take No Photographs, Leave Only Ripples (detail)

Clunie Reid
Take No Photographs, Leave Only Ripples

2009

27 silver Inkjet prints

each 84 x 120 cm, or 120 x 84 cm
Clunie Reid approaches the junk food menu of consumer culture with bulimic gusto: gluttonously binging on the whole of mass media only to regurgitate it, macerated and comically bilious. The more she consumes, the leaner her work gets, distilling the very essence of pop consciousness. Using the photographic image as both her subject and media, Reid takes pictures of advertisements, newspapers, magazines, TV, and the internet, things she finds on the street, things in her studio; she even re-photographs her photos. She makes collages and drawings on them, scrawls absurd logos, spontaneous retorts to the camera’s neatly packaged imagery. And then she re-photographs them again. “The images are not enclosed thematically,” Reid says of Take No Photographs..., “they were chosen because of how they can be played off each other. I’m interested in advertising, the way in which images of bodies and objects have a relationship to the way our view of the world is constructed. By vulgarising this imagery, my work explores the hidden mechanics of image construction, highlighting things which are implicit in media.”
Window, Smoke, Square
Clunie Reid
Window, Smoke, Square

2007

Marker pen and stickers on c-type print

34.7 x 29 cm
In Window, Smoke, Square, Reid constructs an image to reiterate the viewer’s processes of perception. The piece shows a detail of a generic magazine picture which Reid re-photographed (the glare in the bottom right corner is a result of her camera’s flash) and then over-layed with a decorative sticker and text. Labelling every element of the photo, Reid compounds the act of looking to a state of hyper-consciousness. “It’s about the amount of information you have in an image,” explains Reid, “how you make sense of an image if everything is active in telling you what it is. The work is proactive, or interfering, with a transparent viewing process: the degrees of substantiality or surreality of the thing in the image in relation to just seeing the image as purely icon. The square is a square but also something else, the room is negative space but is positive in comparison to the text, and the girl is reduced to the level of the other objects in the image.”
Pete
Clunie Reid
Pete

2007

Marker pen on C-type print

34.7 x 29 cm
Reid’s observed ‘life’ lived through the lens cumulates as a sublime private/public collapse, a nervous breakdown of mixed messaging, unattainable ideals, transparent clichés and hypocrisies. Picturing a photo of Pete from Big Brother taken from a gossip magazine, Reid uses his celebrity persona as a departure point into making. Pete, who has become the country’s most famous face of Tourette’s Syndrome, is well known for his clowny behaviour which intentionally exaggerates the perception of his condition, turning his ‘freakishness’ into a charismatic attribute. The stripes drawn on top of the photo roughly approximate the TV flickering of skewed transmission. Made with marker pen and a ruler, the ink bled under the ruler’s surface creating aberrant smudges from what might have been a perfectly straight line, they suggest a sense of violence and beauty in their degraded communication.
She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

She Gets Even Happier

Clunie Reid
She Gets Even Happier

2008

Mixed media (63 components)

Dimensions variable
Reid’s work is a testament, symptom, and purge of media over-identification: situating herself as a kind of human ‘broadband’, she streams the experience of information overload in her large-scale photographic installations. These replicate the omnipresent bombardment of media messaging, as well as the internal expanse of the psyche. Her consumed images are re-ordered, re-authored, and personalised, subsumed into a warped constructed identity. She Gets Even Happier presents dozens of photographs, drawings, and collages on roughly cut foam-board, each humorously hung with a wire, a cartoon lingo for ‘picture’. “I wanted to find a way to present photo images on that kind of scale,” Reid explains. “Their multiplicity could also be something bigger, operate more ambitiously, be more monumental. It also allows me to go beyond the photo, to write, scrawl beyond the image, to play with something that’s a bit more autographic or direct – a bit like graffiti or vandalism.”
It’s Time For Bed Cassiopeia
Clunie Reid
It’s Time For Bed Cassiopeia

2009

Marker pen on silver inkjet print

112 x 84 cm
Reid describes her work as: “Drawing narratives or paradoxes between images and materials. I’m drawn to images that suggest hyperreal or transcendent states: the body, derelict and abject images, images that can also be made to oscillate between these. There’s often a sexual matrix in the work; loads and loads of really simplistic jokes that come from Freud or Lacan For Beginners, really bottom-level dumb jokes.” In It’s Time For Bed Cassiopeia, Reid plays off the Greek legend of Cassiopeia, a beautiful vain queen who was imprisoned in the sky, in a star constellation that often appears reversed. Her duplicity is rendered in Reid’s silver foil-based portrait as a background divided in two parts. The figure’s face, taken from a Manga porn character, is embodied in a crude sexy drawing; her top half set against shrewd calculating blue, and her nether bits bathed in tempting red, both warranting the applied parental advisory label.
She Likes The Way She Feels
Clunie Reid
She Likes The Way She Feels

2009

Mixed media on silver inkjet print

84 x 112 cm
She Likes The Way She Feels was made at a time when Reid was working on an animation featuring Pamela Anderson in a shower, and much of its visual ‘logic’ extends from her film; this illustrates Reid’s creative processes of stream of consciousness association, overlapping images and ideas in continuous cross reference that mirror media’s output. The background is a negative and reversed image of a casino, its aqua blue hues and solarised treatment reference water: “as a spiritual or subjective state, of being in perfect harmony with one’s surroundings,” Reid explains. “The text suggests a self-conscious feeling of pleasure, and a movement towards that being objectified. ‘Attention’ at the bottom brings it all back to a narcissistic self image.” Covered with super-girlie decals, Reid points to the infantilisation of female sexuality in popular culture.






Other artists in
NEWSPEAK: BRITISH ART NOW

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lynette Yiadom Boakye    Pablo Bronstein    Alan Brooks    Peter Linde Busk    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tom Ellis    Tim Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    Systems House    James Howard    Graham Hudson    Des Hughes    Dean Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut     littlewhitehead    Alastair MacKinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Clunie Reid's BIOGRAPHY

Clunie Reid
Born in 1971, Pembury, UK
Lives and works in London



SOLO EXHIBITIONS


2010
Art Now, Tate Britain, London (two person)
Dumb Down, Get Dressed, Move Out, Studio Voltaire, London. Supported by the Elephant Trust.

2009
Zoo 2009, John Jones Prize Winner Exhibition, London
Clunie Reid, MOT International, London
Out There, Not Us, Focal Point Gallery, Southend-on-Sea
Peek A De Boom, Galerie Reinhard Hauff, Stuttgart

2008
Nought To Sixty, institute For Contemporary Art

2007
Life As You Like It, MOT International, London

2006
Trousers Too Tight, Heels Too High, Keith Talent Gallery


GROUP EXHIBITIONS


2010
Free, New Museum, New York
In The Event Of Suspicion, Bielefelder Kunstverein, germany
Newspeak: British Art Now, The Saatchi Gallery, London
Contact Photography Festival, Toronto
Misty Boundaries Fades and Dissolves, Fromcontent, London

2009
Karaoke, Photographic Quotes, Fotomuseum Winterthur. Zurich
We came here To Get Laid, Not To Critique Dutch Culture, with Tom Ellis and Richard parry, Wilfried Lentz, Rotterdam
2008
Life As You Like It, Camden Arts Centre, London

2007
East International, Norwich. Selected by Matthe Higgs and Marc Caamille Chaimowicz
Propagansa Machine, Local Operations, Serpentine Gallery, London
Transmission Gallery, Glasgow
One In The Other, London
No.W.Here at ZOO Art Fair, London
Aspen 11, Neue Alte Brucke, Frankfurt

2006
A Tree Can See, Flaca Gallery, London
Launch Project ‘Falkeandcharlotte project space’Dolores, Ellen de bruijine gallery, Amsterdam
Neadle drops, Parade, London
God Is Bored Of Us II, fast Moving Consumer Goods, London
This Show Is Ribbed for Her Pleasure, Cynthia Broan gallery, New York

2005
les Marveilles Du Monde, centre For Contemporary Art, Dunkerque

2004
Doubtful Pleasures, APT Gallery, London
Sur Reel, Redux, Gallery, London
The Possibility Of Experiencing The Death Of Others , One In The Other Gallery, London

2003
Render Red Nose, MOT, London
Not Everything, Jeffrey Charles, London
Other Than, MOT, London
Platform Primera, Plate Forme 4, Dunkerque
The Greatest Show On Earth, The Metropole Gallery, Folkestone, curated by Peter Fillingham