15 years of putting up stickers, paste-ups and stencils in Wellington, New York and Dunedin, collated into a limited edition 39 page publication. Hand-cut cover, spray painted pages, risograph duo tones and photographs of the art of the mouse, with a Foreword by UNIT DWT. limited edition of 50 stamped and numbered. Each copy is hand printed and bound by Point Design. Rise of the Mouse is a joint publication by agallerypresents.com and GU produced on the occasion of the exhibition of the same name #riseofthemouse #pasteup #slapstickers #dunedin #newyorkcity #wellington #destroywithtalent
RISE OF THE MOUSE (exhibition)
Is a collaborative project between Dunedin Artist DZNE and Auckland Designer/Skater Alistair Wasywich. Brought together with a shared passion for 1980s skateboard graphics and design. Alistair built and shaped five decks based on classic shapes and shipped them down to Dunedin to be painted by DZNE. Inspired by Powell Peralta and Santa Cruz skateboard designs DZNE created his own versions of the skateboards he had collected as a kid ‘Mike McGill’, ‘Tony Hawk’, ‘Natas Kaupas’ and the iconic ‘Powell Peralta Ripper’
RISE OF THE MOUSE (Publication)
15 years of putting up stickers, paste-ups and stencils collated into a limited edition publication. Hand cut cover, spray painted pages, risographs and photographs of the art of the Mouse. Limited edition of 50 stamped and numbered. Each copy is hand printed and bound by point printing. A joint publication by agallerypresents.com and GU
Extended label for the exhibition written by Curator Karl Chitham
Hutchinson is currently based in Ōtepoti Dunedin. Although originally a graffiti writer using spray cans as his tools, in 2006 he worked on a project for Blue Oyster Gallery that was to signal a shift in his practice. Called Concrete to Textile for the exhibition Hutchinson painstakingly embroidered a series of graffitied panels. Since then he has developed an approach that he refers to as pyschogeography where he explores urban environments, particularly the street on his journey to and from work. He then recreates the found structures and discarded objects he encounters as hand-embroidered sculptures.
He describes the process of collecting and recreating these objects as a way of tracing time and getting to know his immediate environment. He documents the sites he collects from, drawn to and highlighting the spaces people choose not to see, such as the pie wrapper caught under a rusting section of wire fence you see here. In 2019 he travelled to New York, extending his project to the suburb he was based in.
“Three of these works are part of the ‘Far from home’ series and are based on trash I picked up in Williamsburg, a suburb in Brooklyn, New York. They were found within a kilometre radius of where I was staying. Each morning I would spend an hour wandering around the neighbourhood photographing and collecting discarded ephemera, to reproduce as hand-embroidered objects when I got back to New Zealand.”
Jay Hutchinson latest exhibition at Olga Gallery continues his ongoing exploration of the urban environment with a sonnet to detritus. The artist has photographed litter he has seen on the roadside during his daily commute, and used these photographs as a basis for embroidered works on printed canvas.
Hutchinson has long been fascinated with urban life and the borderline between art and pollution. Some of his misspent youth was involved in tagging, the large and often baroquely embellished graffiti signatures often seen around a city.
As such, his move to professional art has seen him questioning the often arbitrary line between high and low art, and also has led him to the understanding that commercial branding is in itself a form of professional tagging.
Even after a product has been consumed, its logo-adorned wrapper will often be found as roadside litter while simultaneously continuing to advertise its product.
Hutchinson has subverted the idea of rubbish being an unattractive pollutant byproduct of commercialism by reclaiming it as art and presenting it in the gallery space using that most delicate and even genteel of media, embroidery.
What was literally throwaway has been elevated to something of commercial and aesthetic value, and this has produced a pleasing, thought-provoking and wryly witty exhibition.
24 Hours at the Sweatshop is a 24 performance work where a single worker will cut, sew and print T-Shirts in a simulated sweatshop setting. The project aims to highlight the labour involved in producing an every day product that everyone is familiar with as well as a critique on fast-fashion. T-shirts can be purchased @companystore through a donation to woman’s refuge #companyofstrangers #24hoursatthesweatshop #idfashion #fastfashion #agallerypresents