SOLD OUT New work available exclusively through agallerypresents.com based on the iconic yellow Zig Zag cigarette paper packet, this limited edition of 6 hand stitched works gets smaller with each interpretation as a different filter is cut from the card.
Each work is then presented in a black box frame 250 x 250mm
Each work is signed and numbered on the reverse
contact email@example.com for more information
A collaborative project between tattooist Shaded Skull and artist Jay Hutchinson. Inspired by the Iconic ‘Speed Skull’ tattoo design by the legendary tattooist Bert Grimm. Shaded Skull designed his own versions of the skull, playing with rhyming words Weed and Greed. These designs were then hand stitched onto cotton drill and splattered with black spray paint in reference to when Shaded Skull and Hutchinson painted graffiti together in their youth…each work has then custom framed in hand built frames by Hutchinson
In late 2019 two Auckland based photographers and a Dunedin based sculptor travelled to New York. What they didn’t realise at the time, was that within mere months the world would be ‘locked down’ due to a global pandemic. This exhibition showcases a snapshot of the artists time spent in a country that many of us no longer have access to.
Petra Leary is an Auckland based photographer. She has an innate design sensibility, reflected in her unique process all the way from conception to post-production. An intrepid world traveller often hunting out unusual landscapes, manipulating and accentuating colours in post-production to create her final work.
Jay Hutchinson is a Dunedin based artist who works with textiles. His practice follows a pychogeographical model where he recreates found structures and objects with fabric and thread. His work explores urban erosion and the waste and decay of capitalism.
Tim Deynzer (Tim D) is an Auckland based photographer. Driven by an obsession with capturing the perfect moment on film, his practice is based on documenting endless changing urban environments and the characters within them.
JAY Hutchinson’s current exhibition at Olga is the most conceptually rigorous by the artist that I have personally seen to date. It also represents a departure of sorts from the gallery’s regular programming, and pushes against the expectations of dealer gallery exhibitions more generally — in this corner of the world at least. These prefatory remarks are, of course, consistent with conceptual art projects in the sense that they often require more contextual foregrounding to assist viewers not familiar with the artist’s work. This contextualisation itself can be problematic from the perspective of the viewer who may want to approach the exhibition without an “explanation” (there will be those who have this experience), and from the position of the reviewer, who can be similarly wary of providing information in a way that may undercut the apparent inscrutability of the exhibition. The issue here is: how much to give away?
Notice, if you will, the trails of red brick dust that have plumed down from the masonry screws on the white wall and have caught on remnants of filler from previous exhibitions. Look at the arrangement of screws and nails themselves. Refer to the title: is this what the city looked like in May? Are the upright ladder and the rubbish on the floor part of the exhibition? Has the artist worked with rubbish in the past? Is that a rubbish bag in the corner?
This exhibition is based on the enduring concept of friendship, community and inclusion. A chance to remember and celebrate the lives of two good friends,Ray Yallop (b.1934, d.2010) and Des Smith (b.1920 d.2009). The Exhibition is a salon installation in the style of their residence in Grant Street, Dunedin, New Zealand. Cluttered artworks of all kinds would vanish into a tapestry of colour, an endless sea of style, medium and form. Historical oil paintings would sit alongside bright coloured sketches, framed-photographs and quirky sculptures either given by the artists, purchased from local galleries or just picked up at bargain prices from local fairs. The collection represented an endless expanding community of artists that would meet at ‘Des and Ray’s Place’ at least once a year for unveilings of new works, birthday celebrations and even a wedding. It was a place that felt like home, where all were always welcome, and accepted for who they were.
The exhibition includes artwork by those that knew Des and Ray and those that possibly would have…don’t forget to sign the book