Dimensions: image, each: 840 x 1120 mm
Copyright: © Clunie Reid | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: This is "Your Higher Plane Awaits" by Clunie Reid, currently held in the Tate Collections. What's your initial reaction? Editor: Overwhelming, like staring into the fragmented subconscious of internet culture. There's something unnerving about the sheer volume of imagery. Curator: Reid is known for her critical engagement with media and political imagery. This piece, comprised of numerous individual images, explores themes of power and representation. Editor: I see it. It's almost a visual cacophony, reflecting the constant barrage of information we're subjected to. Each image seems to fight for attention, yet they're all connected. Curator: Absolutely, Reid is inviting us to think about how we process and internalize this constant stream of information, especially in the digital age. Editor: It feels like a mirror reflecting our own anxieties and obsessions. A bit bleak, but ultimately thought-provoking. I think I need a lie down now. Curator: Precisely, a powerful piece for our times.
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http://www.tate.org.uk/art/artworks/reid-your-higher-plane-awaits-t13568
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Your Higher Plane Awaits 2010 is an installation of sixty black and white ink jet photo-collages printed onto shiny silver paper, which covers the whole gallery wall from floor to ceiling. The dimensions of the installation are variable, depending on the gallery space. Any number of the images can be installed, from a minimum of fifteen out of the sixty available. The glossy images are taken from a variety of sources including fashion magazines, advertisements, the internet and material from the artist’s studio. Some are overlaid with words written or scrawled with marker-pens. These are often slogans taken from advertisements, for example an advert for Sky (‘Grandma, what consistent speeds you have’) or the text from a London Underground poster (‘I am simple, I am coming soon’), or the artist’s own intuitive responses to the content of the original material. Her addition of hand-written text, produced in direct response to the content matter, interjects elements of the personal into otherwise often mundane material. In other instances, Reid uses the marker pen to censor particular elements within the image. The sheets are taped to the wall with black and white gaffer tape, the black margins of the tape dictating the way in which the eye scans and moves across the surface.
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