The Yallop & Smith Memorial Exhibition opening 12:00pm Saturday 31 October 2020 at Olga Gallery 32 Moray Place Dunedin

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

A joint a gallery presents and Olga project

“The painting above (right), was the last painting completed by my friend Des Smith. It was based on his favorite placemat ( left) featuring the art work “Crossing the Bealy,1882”, by artist John Gully. The placemat sat next to the board he was painting on the easel in his bedroom in 2006. Des worked on the painting for about six months slowly building up the composition in thin transparent layers. This was a process he had learnt at the Dunedin School of Art in 1937 where he studied painting alongside Colin McCahon. I visited often during this time as I lived across the road. Des would often usher me into a room to show me his progress on the painting… before Des’s partner Ray would pull meaway, taking the placemat with him as he needed it for its intended use. Ray was always concerned that as an art student, I wouldn’t be eating enough. Ray was always making fuss and is still one of the best hosts I have ever met.”
Jay Hutchinson

RISE OF THE MOUSE

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

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

Images and text of new work for the group exhibition ‘Ā Mua: New Lineages of Making’ at The Dowse Art Museum in Lower Hutt. The exhibition was supposed to be opening today 4/3/20 now postponed due to the Covid 19 lockdown in New Zealand. Stay Safe

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
Far from home (Dunkin Donut)
2020
hand-embroidery on digitally printed cotton drill in a white box frame

New York City Trash Brooklyn 2019

Jay Hutchinson
Far from home (Five Boroughs Brewing)
2020
hand-embroidery on digitally printed cotton drill

New York City Trash Brooklyn 2019

Jay Hutchinson
Far from home (We HEART our customers)
2020
hand-embroidery on digitally printed cotton drill, coat hanger

New York City Trash Brooklyn 2019

Jay Hutchinson ‘The archaeology of the discarded, forgotten and thrown away’ at the Suter Art Gallery, Nelson 21/9/19 until 1/12/19

Untitled landscape, Nelson, May 2019, Hand-embroidery on Cotton-drill, PVA and timber
‘Untitled landscape, Nelson, May 2019’, Hand-embroidery on Cotton-drill, PVA, fixings and timber

‘The archaeology of the discarded, forgotten and thrown away installation view at The Suter Art Gallery, Nelson

‘The archaeology of the discarded, forgotten and thrown away installation view at The Suter Art Gallery, Nelson

‘The archaeology of the discarded, forgotten and thrown away installation view at The Suter Art Gallery, Nelson
‘The archaeology of the discarded, forgotten and thrown away installation view at The Suter Art Gallery, Nelson

‘Turn left, and left again’, Hand-embroidery on printed cotton drill, White box frame x 9
‘Turn left, and left again’, Hand-embroidery on printed cotton drill, White box frame x 9

‘Rusty wire fence and a Jimmy’s mince and cheese pie’, Hand-embroidery on printed cotton drill, rusty fence...
‘Rusty wire fence and a Jimmy’s mince and cheese pie wrapper’, Hand-embroidery on printed cotton drill, rusty fence…

‘The archaeology of the discarded, forgotten and thrown away installation view at The Suter Art Gallery, Nelson

‘The archaeology of the discarded, forgotten and thrown away installation view at The Suter Art Gallery, Nelson

Review By James Dignan on Jay Hutchinson’s exhibition”on the way to work” at Olga Gallery, 32 Moray Place, Dunedin (originally printed in the O.D.T 28/3/190

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.

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