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Artist Exhibitions:
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See a special collection of
still life interiors at Artrom
Gallery.
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See an evolution of work at
MOCA Virtual Museum's Open
Gallery.
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Most of 2009 is a sabbatical
year, taken from creating art
to focus on converting a half
acre of English herbacious
garden beds into Chinese and
Japanese...
Further Information
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Artist Galleries:
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GALLERY REPRESENTATION
CONSIDERED -an exhibition
proposal is available.
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Currently represented by:
- Artrom Gallery
Rome, IT
- Lopdell House Gallery
Titirangi
Waitakere City, NZ
- Compose Art
Auckland, NZ
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Previous associations:
- Ferner Galleries City
Auckland, NZ
- Portfolio Gallery
Auckland, NZ
- Martin Zambito Fine Art
Seattle, WA - US
- Woodards Gallery
Waitakere City, NZ
- RKS...
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Artist Reviews:
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MORE COMING - check back
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36) Jun 08...Jodi Melfi,
Absolute Arts - "...what a
great collaboration. We love
working with artists like
yourself who take their
marketing to the next
level..." -- re Teramo
Festival exhibition
35) Jun 08...Lisa Rogers,
Curator - CEAC: Corban Estate
Art Centre -
"...love the Topology
pieces. Very...
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Collections:
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PUBLIC/CORPORATE
-Polly Pratt, Auckland, NZ
-westSMART LTD, Auckland, NZ
-Popsmart LTD, N Shore City,
NZ
-Waitakere City Council, NZ
-Auckland City Council, NZ
PRIVATE
Simon Walter, Auckland, NZ
Warwick&Kitty Brown, Auckland,
NZ
Darnell Dixon, Auckland, NZ
Sarah Little, Auckland, NZ
Anna Boyd-Dunlop, Auckland, NZ
Rod Brodie/Margaret...
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Commissions:
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PopSmart Ltd, North Shore
City, NZ - 2004; 2001
westSMART, Enterprise
Waitakere, Waitakere City, NZ
2003
Enterprise Waitakere,
Waitakere City, NZ - 1995
Auckland City Council,
Auckland City, NZ - 1984/5
...
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Artist Statement for Clay Bodvin
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The Still Life.
Less a self-contained, completed truth. More like an evolving experiment.
In both the early 1600s and late 1800s new needs and desires for commercial and agricultural products arose, brought about by changes in production and manufacturing methods. The result was an unprecedented increase consumption.
Each time, this new lavish abundance caused a dramatic restructuring of people’s expectations. Growing individualism compartmentalised society more and more into functional spheres. Social class was defined by one’s ability to acquire and consume. Still life paintings were considered items of status.
And, once again, the 1950s experienced similar patterns of change, excess and increasing obsolescence. From a socio-cultural perspective, paintings from those periods have turned out to be interesting and important documentary evidence of the changes, self-indulgence and craving people experienced.
But, ironically, what is first seen as luxury quickly becomes the new consumer standard and reinforces the short-term lifespan, use-by nature of material goods. The result is seen today in a world now almost completely defined in terms of the abundance of, and desire for, luxury items.
As part of an ongoing investigation into the Still Life genre, my new work metaphorically highlights the inherent transience of today’s manufactured products. The physical integrity of familiar objects and domestic spaces is challenged. Everyday things are visually altered and distorted while textures, colours, shapes and structures dissolve.
A layer of descriptive text, subjected to the same treatment, becomes part of a background pattern. This typographic content documents some of the changing social attitudes and mores during those earlier periods of transformation - providing a historical comparison with, and intriguing insight into, the luxurious nature and conspicuous consumption of everyday things.
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Ref: The Art of the Still Life, Norbert Schneider. Taschen, 1990.
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clay bodvin
DCB©2008
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contact artist
