Newport/White Castle

The last two works from the series ‘Far from home/ American trash’ will be available to purchase from the @masterworksgallerynz Summer exhibition ‘Raumati/Summer Salon’ from tomorrow…based on found object/trash in New York City 2019, pre pandemic. Both works hand-embroidery on digitally printed fabric, framed with Museum Glass in box frames 330 x 330mm #handembroidery #trash #rubish #litter #masterworkgallery #handstitched #textileart #newport #whitecastle #jayhutchinson

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Yellow Zig Zag

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 agallerypresents@gmail.com for more information

Trashed on the way to work

New work for an upcoming exhibition late in August ‘Button up’ at Masterwork Gallery in Auckland

Screwed up Fruit Burst wrapper and three circular pieces of concrete
Hand-embroidery on digitally printed cotton drill with cast concrete
Dimensions variable

Screwed up Minties wrapper with three pieces of circular concrete
Hand-embroidery on digitally printed cotton drill with cast concrete
Dimensions variable

Speed Weed Greed exhibition opening 6:00pm 1/7/21 at Absolution Tattoo Studio, Christchurch

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

Escape From New York opening 5:00pm 2/4/21 Olga Gallery

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.

“Untitled, Dunedin Landscape, May 2020” review in the ODT 26/11/20 by Robyn Maree Pickens

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?