Images of works and the installation of Jay Hutchinson’s exhibition My Little Pony and Friends on at Absolution in Christchurch until Saturday 28 March 2015…couldn’t get a good enough image of the My Little Pony Embroidery will upload it separately
Common Ground: Hutt Public Art Festival presents a performance project by Jay Jay Hutchinson ’24 Hours at the Sweatshop’ intended to provoke discussion about the everyday products that fill our lives; how they are produced, consumed and disposed of.
The artist will create a simulated sweatshop in an About Space empty shop space in the CBD of lower Hutt (211 High Street). He will remain in the space for 24 hours with only six ten-minute tea breaks, replicating sweatshop conditions experienced by workers overseas. The artist will cut fabric from a roll, sew together the garment, print an image on it before placing the garment on a rack. The audience will then be invited to take the product, as long as they do not enter into a system of exchange. ie. they are not allowed to give the artist anything in return.
for more information go to commongroundfestival.org.nz
‘My Little Pony and Friends’ is a play on the awkward physiological progression of the male child into adolescence. When childhood fantasy dissolves and another emerges.
This exhibition includes nine new works, eight hand-embroidered textile pieces depicting vandalised superheroes and Disney princesses and the recently completed ‘My Little Pony’. The pony took over 500 hours to hand stitch, making it his largest and most intensive work to date.
Exhibition opens 6:00pm on Monday the 2/3/15 at ABSOLUTION, The Tannery, 3 Garlands Road, Woolston, Christchurch, New Zealand
The premeditated school photograph documents a person in that time but doesn’t normally function in any other way. The ambiguous context in which these images are displayed initially feels uncomfortable. We feel empathetic toward these strangers on display as we have all sat in the familiar school photograph setting yet there is an interesting discordance in the way we are familiar with the school photograph construct yet it is also generic and distant.
In The Kids Are Alright the source material came from a deceased estate being auctioned on Ebay. The late school teacher had innocently collected photos of children that she taught and documented the name of each child and date on the back. We are used to seeing these reference images in the media most commonly to describe something negative. I purchased these photos around the time of the Sandy Hook Massacre where one of the teachers sacrificed her life to hide the children from the gunman and a collection of cropped school photos were broadcast of the ones who weren’t so lucky.
This work instead celebrates the people who overcome societal failings in order to give so selflessly and acknowledge something positive. The work challenges the initial face value and assumptions we attach to familiar scenarios and suggests alternate readings.