The Perfume and the Bottle
Gabriele Beveridge, Andy Coolquitt, Owen Kydd, Kate Steciw, Anne Hall

The exhibition The Perfume and the Bottle presents a selection of works that are deliberately seductive. The artworks presented borrow from advertising imagery, methods of display, and modes of categorisation, evoking a sense of nostalgia and operating within recognizable visual languages of mass consumerism.

Exhibition The Perfume and the Bottle
Artists Gabriele Beveridge, Andy Coolquitt, Owen Kydd, Kate Steciw, Anne Hall
Venue Parasian Laundry

Gabriele Beveridge (London, UK) collects faded hair salon posters and beauty shop ads. She seeks out doubles, skewing or cropping these found images that are paired with photograms and adorned with artist made frames, hand blown glass elements and crystal balls to explore tropes of eternity, ephemera, beauty, and mystique. Andy Coolquitt (Austin, TX) is a quintessential collector of refuse, consistently repurposing the dirty everyday into display patterns and vitrines. Here, Coolquitt’s vitrines present washed up deodorant sticks, their surfaces, naturally roughened by the passage of time, appear as if cast in stone or marble. These indexes of irredeemable materials are, ironically, now (and forever), re-categorised as art. In Owen Kydd’s (Los Angeles, CA) durational photographs, objects on display are endlessly looped to a nearly Lynchian effect of perpetual unease and fascination. Kydd’s positioning of the screen as art object also draws equivalence between his media and the things he pictures, between the constancy of photography and the dynamism of video. Kate Steciw (New York, NY) suspends fractured and re-purposed stock imagery in her mobile- esque photographic sculptures. The seemingly random assemblages speak directly to the mass consumption and rapid digestion of images. Steciw halts this process, as she suspends the images in free fall. Moreover, new collaborative work with Anne Hall centers on the cyanotype, creating permanence in these imprints of simple objects.

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