Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Decoration as Ruse

AA
View Discussion
Nick Cave, Soundsuit, 2008, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, detail, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, detail, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, detail, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, detail, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, detail, mixed media. Collection of Auckland Art Gallery Toi o Tamaki Nick Cave, Soundsuit, 2008, detail, mixed media. Collection of Auckland Art Gallery Toi o Tamaki

One minute the forms seem connected to Papunya Tula painting, then to Melanesian dance costumes, then Roman Catholic ecclesiastic garments, then Frank Stella, then Japanese woodcuts, then William Morris, then Matisse, then Miriam Shapiro, then Sam Gilliam—and so on. The mercurial changing of design and art historical references goes on and on. It's truly protean. If it weren't so engrossing it would be exhausting.

Auckland

 

Nick Cave
Soundsuit

 

18 February - 3 March 2019

Displayed as a new acquisition on the bottom floor next to the entrance—for a short period of a few days so that contributors to an acquisition fund could enjoy it—this extraordinary, visually lavish garment (on a mannequin) was made in response to the much publicised video of the Rodney King beating at the hands of Los Angeles police officers (1991).

Created by Nick Cave the African-American fabric sculptor (not the Australian rock musician), this tall, faceless, skirted suit—that ironically alludes to the hooded sheets of the KKK—is densely packed with glittering decorative motifs (made with thousands of sequins, buttons, staples, pins and beads that rustle when moved) that seem truly transnational in their hybridity. Loaded with super-subtle colour, intricate texture and surprising geographic allusion, combined with those bits that ominously rattle, Cave’s strangely tactile ‘American’ sculpture encourages prolonged looking.

Cave‘s work is akin to that (in Aotearoa) of Reuben Paterson, but compositionally, miles more complicated. The merged design sections keep shifting as your eyes move over the garment’s surfaces, taking in the artist’s exuberant eclecticism that with comma (scare-quote) shapes references its own making process.

One minute the forms seem connected to Papunya Tula painting, then to Melanesian dance costumes, then Roman Catholic ecclesiastic garments, then Frank Stella, then Japanese woodcuts, then William Morris, then Matisse, then Miriam Shapiro, then Sam Gilliam—and so on. The mercurial changing of design and art historical references goes on and on. It’s truly protean. If it weren’t so engrossing it would be exhausting.

Cave seems to regard this item as a protective cloak, thwarting racially motivated violence by exuberantly muddling identity, making the wearer’s race, gender, sexuality, or class safely hidden and invisible. It is an exterior that is a decoy that confuses any enemy, a distraction that celebrates visual diversity while flummoxing any aggressor, a garment so wildly conspicuous it obliterates any awareness or memory of its wearer.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Richard Killeen, Alive in New Zealand, 1971, oil on hardboard, 420 x 570 mm

Oafish’ AND Urbane Killeen

IVAN ANTHONY GALLERY

Auckland

 

Richard Killeen
Forty-Eight Years In Between

 

5 June - 29 June 2019

JH
PĀNiA!, Honorary Consulate (Mobile Cardboard Detachment) (2019), cardboard, adhesive, masking tape, plastic toy lawn mower.  49 x 31.5 x 78 cm.  Photo: Arekahānara

Ambassadorial Preoccupations

MOKOPŌPAKI

Auckland

 

PᾹNiA!, Yllwbro, A.A.M. Bos
The Dutch Embassy


1 May - 22 June 2019

JH
Ron Left, Escalator 4, 2017, acrylic and digital photography on aluminium, 900 x 1600 mm

Ron Left’s Media Hybridity

ARTIS Gallery

Auckland

 

Ron Left
Shadow Series

 

11 June - 24 June, 2019

JH
Mark Schroder, 'Goldkorp' as installed at RM. Detail. Photo: Sam Hartnett

Schroder’s Allegorical Installation

RM

Auckland

 

Mark Schroder
Goldkorp

 

22 May - 7 June 2019