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CIRCUIT Artist Film and Video Aotearoa NZ

Jill Kennedy : Eyes on the Moon Interview posted Jun 7 2012 by Miriam Harris

Boys_Panda_web

Jill Kennedy’s Eyes on the Moon is a series of evocative, rich, and absurd animations that gained resonance alongside two other exhibitions recently scheduled at Auckland’s Gus Fisher Gallery.

Ballast: Bringing the Stones Home presented a collection of John Edgar sculptures forged from stone collected by the artist in historic Scottish quarries. In Paper-jams: artists between the covers various artists explored the book’s identity as a sculptural object.

Programmed in tandem by curator Andrew Clifford, the three shows offered a rich survey of the similarities and differences across a range of media. In Paper-jams Patrick Pound’s sensitive collages deconstructed seemingly inviolable tomes to reveal beautiful innards. Tessa Laird’s cheerfully quirky ceramic books enticed but remained resolutely sealed. Elsewhere, the modernist strategies of El Lissitsky and Johanna Drucker made traditional boundaries between text and image permeable. Meanwhile, in the foyer space John Edgar’s Ballast: Bringing the Stones Home displayed the glorious physicality of worked Scottish stone, coupled with texts by Dinah Hawkins.
Like several of the Paper-jams artists, Kennedy combs through old books and journals for her source images. Often culled from 1960s and 70s photography and illustration, many bear the sun-bleached aura of a California snapshot. In Eyes on the Moon she endowed these images with life-like qualities, or juxtaposed them to startling and absurd effect – a macraméd plant holder slowly turns in space; panda heads propel from the earth like launched rockets; and, in time to John Payne’s synthesised beats, astronauts cavort with beach balls on the surface of the moon. Continue to full article

Ballast: Bringing the Stones Home presented a collection of John Edgar sculptures forged from stone collected by the artist in historic Scottish quarries. In Paper-jams: artists between the covers various artists explored the book’s identity as a sculptural object.

Programmed in tandem by curator Andrew Clifford, the three shows offered a rich survey of the similarities and differences across a range of media. In Paper-jams Patrick Pound’s sensitive collages deconstructed seemingly inviolable tomes to reveal beautiful innards. Tessa Laird’s cheerfully quirky ceramic books enticed but remained resolutely sealed. Elsewhere, the modernist strategies of El Lissitsky and Johanna Drucker made traditional boundaries between text and image permeable. Meanwhile, in the foyer space John Edgar’s Ballast: Bringing the Stones Home displayed the glorious physicality of worked Scottish stone, coupled with texts by Dinah Hawkins.

Like several of the Paper-jams artists, Kennedy combs through old books and journals for her source images. Often culled from 1960s and 70s photography and illustration, many bear the sun-bleached aura of a California snapshot. In Eyes on the Moon she endowed these images with life-like qualities, or juxtaposed them to startling and absurd effect – a macraméd plant holder slowly turns in space; panda heads propel from the earth like launched rockets; and, in time to John Payne’s synthesised beats, astronauts cavort with beach balls on the surface of the moon. Continue to full article >

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