Glen Hayward I don't want you to worry about me, I have met some Beautiful People, installation view (detail), City Gallery Wellington, 2013. Photo: Hamish McLaren
Glen Hayward I don't want you to worry about me, I have met some Beautiful People, installation view (detail), City Gallery Wellington, 2013. Photo: Hamish McLaren
This exhibition is now closed
Real or illusory? Virtual or physical? Sculptor Glen Hayward teases out these questions in this mind-bending new sculpture, a hand-carved and painted recreation of the famous office cubicle from The Matrix.
From the ring binders to the telephone to the pencils in a coffee mug, everything here – like everything in the world of the film – is not quite what it seems. Displayed in a temporary gallery that was formerly an office environment, Hayward's phantom cubicle also echoes the changing spaces of post-earthquake Christchurch, where many offices, vacated and demolished, can now be reconstructed only in memory.
Glen Hayward: I don't want you to worry about me, I have met some Beautiful People is initiated and toured by City Gallery Wellington.
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Date:
6 September – 3 November 2013 -
Location:
209 Tuam Street -
Exhibition number:
955
Related reading: Outer Spaces
Exhibition
Yvonne Todd: The Wall of Man
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A collection of apparently straightforward corporate photographic portraits, the type usually seen in company boardrooms or annual reports, becomes increasingly puzzling in its intent.
Notes
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Last chance to view the Holloway Press exhibition at Central Library Peterborough this week so if you are in the neighbourhood and like beautifully printed, designed and hand-crafted books then make sure you head along.
Notes
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See below for a message from Sian to find out how you can get involved.
Notes
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Notes
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Notes
The inner binding now on display at the library
If you've not been down to the Central Library Peterborough yet now's a good time to do it.
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Notes
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Interview
Silent Patterns
When we asked Tony de Lautour to produce a new work for the Bunker—the name Gallery staff give to the small, square elevator building at the front of the forecourt on Montreal Street—he proposed a paint scheme inspired by Dazzle camouflage. Associated with the geometric near-abstraction of the vorticist movement, Dazzle was developed by British and American artists during the First World War to disguise shipping. It was a monumental form of camouflage that aimed not to hide the ship but to break up its mass visually and confuse enemies about its speed and direction. In a time before radar and sonar were developed, Dazzle was designed to disorientate German U-boat commanders looking through their periscopes, and protect the merchant fleets.
Senior curator Lara Strongman spoke with Tony de Lautour in late January 2016.
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Article
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