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

JH

Seymour’s Feline Billboards

AA
View Discussion
Ava Seymour, I’m Here For The Butterflies, 2022 (installation view, Reeves Road), photo by Sam Hartnett Ava Seymour, I’m Here For The Butterflies, 2022 (detail, Reeves Road), photo by Sam Hartnett Ava Seymour, I’m Here For The Butterflies, 2022 (detail, Reeves Road), photo by Sam Hartnett Ava Seymour, I’m Here For The Butterflies, 2022 (detail, Reeves Road), photo by Sam Hartnett Ava Seymour, Story of Love, 2022 (installation view, Parnell Station), photo by Sam Hartnett Ava Seymour, Story of Love, 2022 (installation view, Parnell Station), photo by Sam Hartnett Ava Seymour, Story of Love, 2022 (installation view, Parnell Station), photo by Sam Hartnett

Unfortunately the ubiquity of pet food advertisements on roadside billboards and armchair television might be seen to drain away the specialness of Seymour's project. However her use of black and white gives them an ‘arty' classiness, for the contrasting tonal values do provide a formal drama, even a gravitas. And the images are big.

Te Tuhi Billboards

Auckland

 

Ava Seymour
I’m here for the Butterflies & Story of Love
Curated by Andrew Kennedy


25 September 2022 - 27 November 2022

Along Pakuranga’s Reeves Road: three grumpy moustachioed ‘old men’ (like Statler and Waldorf of the Muppets) seem to be looking at artworks in the gallery (fluttering ‘butterflies’ that ascend, out of reach, only to fall short, wither and die). The enlarged feline visages entertain with their cantankerous glares, delightfully exuding short-fused irritability, but inevitably cute as well.

On the other side of town beside Parnell station, we see something quite different: three lean young shorthaired cat bodies, extremely elegant in profile, looking over their shoulders down the line in both directions, eagerly anticipating carriages of arrivals (or showing sorrow—or maybe even relief—at departures) who are possible lovers.

Unfortunately the ubiquity of pet food advertisements on roadside billboards and armchair television might be seen to drain away the specialness of Seymour‘s project. However her use of black, gray and white gives them an ‘arty’ classiness, for the contrasting tonal values do provide a formal drama, even a gravitas. And these images are big.

Or is, on the other hand, her exploiting of the pathetic fallacy (giving pets humanlike emotions) a bit corny? (Can cats love?) Enthusiastic followers of ‘cat psychology’ are bound to disagree.

Bear in mind though that Seymour knows how to make very disturbing and provocative (even offensive) images, as her much earlier, Hoch-influenced, collages show, so these sweet and cuddly images might be a trap—claws withdrawn but ready to pounce—to remain conveniently hidden just for a while.

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH
Virginia Leonard, Eating with Blue Blood and Village Knickers, 2025, clay, resin and lustre, 400 x 500mm plus ceramic tray.

Leonard’s Aesthetic….Hmm?

GOW LANGSFORD GALLERY

Virginia Leonard

 

The Wedding Breakfast: An Ode to Olly

 

26 March - 19 April 2025

JH
George Watson, Fields 3, detail,  hand dyed silk, fence batons, staples, 2300 x 230 mm overall

George Watson at Coastal Signs

COASTAL SIGNS

George Watson

 

The Farm

 

7 March - 12 April 2025

JH
Laith McGregor, S.O.S., 2025, clay and enamel, dimensions variable.

Performing Magic (with Anxiety)

STARKWHITE

Laith McGregor

 


Long Days, Longer Nights

 


15 March - 15 April 2025

JH
Dale Frank, Installation shot of Dale Frank at Gow Langsford. Photo: Sam Hartnett

Dale Frank in Onehunga

GOW LANGSFORD GALLERY

Onehunga

 

Dale Frank


Dale Frank


8 March - 4 April 2025